EASY  TO  LEARN 

EASY  TO  TEACH 


ildS  6 


EASY  TO  WRITE 
EASY  TO  READ 


EW,     TRUE     AND     TRIED     METHOD     OF     TEACHING     AND      LEARNING     A     RAPID.     PRACTICAL     HAND. 
STARTING     AT     THE     AGE     OF     TEN     YEARS     AND     PROGRESSING     SYSTEMATICALLY 
STEP     BY    STEP     THROUGH     SCHOOL     INTO     ACTUAL     LIFE. 


UIDE    AND    INSPIRATION    FOR    THE    TEACHER;    A   SCIENTIFIC    SELF     INSTRUCTOR     FOR    THE    HOME 
STUDENT;    AND   A   SAFE   AND   SURE    METHOD    FOR    ALL  WHO    DESIRE   TO   WRITE    SUCH    A 
HAND     AS     THE     PRESENT     NEEDS     AND     THE     FUTURE     WILL    DEMAND. 


BY    C. 


ZANER 


NDER     OF     AND     CHIEF      INSTRUCTOR      IN      THE      ZANERIAN      COLLEGE     OF      PENMANSHIP;      EOiTOR     i     F    THE 

Educator,   a    Journal    of    Penmanship    and    Business     Education;    and    Ao'hor    of 
Numerous  Works   on    Penmanship.    Engrossing  and   Pen   Art. 


JSINESS 


PUBLI  SHED    BY 


!aner  &   Bloser   Company 

COUUM  BUS,    O. 


FtB'1908 


COPYR  IGHT 

I904. 

By   ZANER    &    BLOSER 


-Z-IL, 


PREFACE 


Writing  should  be  plain  and  rapid.  The  business  world  demands  it.  Slow 
■writing  is  out  of  date,  and  illegible  writing  is  inexcusable,  annoying,  and  dangerous. 
A  good  handwriting  being  now  within  the  reach  of  all,  a  poor  one  is  a  disgrace. 

Copybooks  and  vertical  writing  have  fostered  form  at  the  expense  of  freedom, 
and  slow,  cramped  finger  movement  writing  has  resulted.  Speed  and  muscular 
movement  theories  have  fostered  freedom  at  the  expense  of  form,  and  reckless, 
scrawling,  illegible  writing  has  been  the  rule. 

Form  without  freedom  is  of  little  value,  and  freedom  without  form  is  folly. 
Form  and  freedom  must  go  hand  in  hand  or  failure  follows. 

The  Arm  Movement  Method  of  Rapid  Writing  is  based  upon  form  and  move- 
ment, neither  being  sacrificed  as  both  are  absolutely  essential  to  success.  The 
work  is  so  planned  and  graded  that  form  and  movement  for  the  first  time  are 
developed  together  successfully  and  scientifically  from  the  beginning,  the  simple 
preceding  and  leading  to  the  complex. 

To  simplify  the  learning,  insure  legibility,  facilitate  execution,  and  develop  the 
highest  possible  sgead,  the  forms  have  been  so  simplified  and  constructed  that  the 
maximum  of  ease,  plainness,  and  speed  is  attained. 

For  the  first  time  we  have  simpleness  of  form  without  slowness  of  execution; 
plainness  without  stiffness,  as  in  the  vertical;  and  freedom  without  -ecklessness. 

Simplicity  of  form  is  essential  in  order  that  all  may  acquire  the  art.  For 
simple  forms  not  only  mean  ease  in  reading,  but  ease  in  execution,  as  well  as  the 
highest  possible  speed.  Ease  in  acquisition  and  execution,  plainness  in  form,  and 
rapidity  in  writing  are  the  essentials  of  successful  writing,  and  the  Arm  Movement 
Method  comprises  the  same  to  a  greater  degree  than  any  other. 

The  copies  were  all  written  freely,  even  rapidly,  with  the  peu  and  not  drawn 
slowly  for  the  sake  of  accuracy.  They  are  therefore  practical  rather  than  technical, 
and  serve  to  illustrate  not  only  form  but  movement  as  well. 


<^X^  d^/tc^^/m/J/l<22^9?u^t/Mr//i^dY^/J/^^^^ 


CONTENTS. 


Page 

Why  People   Write  Poorly 5 

What  Is  Good  Writing? 5 

Who  Can  Learn  to  Write  Well? 5 

The  Worth  and  Price  of  a  Good  Handwriting 5-6 

Study  and  Practice 6 

Form  and  Movement 6 

The  Arm  Movement 6-7 

How  to  Acquire  the  Arm  Movement 7 

Training   7 

How  to  Practice 7 

Before  and   After .  .  ^ 8 

The  Writing  Lesson 8 

Materials    8 

Health    9 

Counting  or  Marking  Time 9 

How  Fast  to  Practice  and  Write 9 

Learning  and   Unlearning 9 

Penmanship    Philosophy 9-10 

Penmanship    Physiology 10-11 

Penmanship    Psychology 11 

Vertical    Writing 12 

Position  of  Body 12 


Page 

Position  of  Arm,  Hand,  and  Pen 13 

Position  or  Angle  of  Paper 13 

Interest  and  Enthusiasm 13 

Model  Forms  for  Study  and  Imitation 14 

Optional  Forms  for  Advanced  Pupils 14 

Technical  and  Descriptive  Analysis 15-17 

Plan  of  The  Arm  Movement  Method  of  Rapid 

Writing  18 

Final  Words  Worth  Heeding 18 

Part  One  or  Book  One 19-48 

Part  Two  or  Book   Two 49-71 

Part  Three  or  Book  Three 72-89 

Part  Four  or  Book  Four 90100 

Lettering    101-102 

Fine  Art  Penmanship 103 

Commercial  or  Copper-plate  Script 104 

A  Pictorial  Epitomized  History  of  Writing 105-106 

The  Physiology  and  Anatomy  of  the  Machinery 

of   Writing 107-109 

Applied    Physiology 110-111 

Certificate   : 112 


II  oSo 

WHY  PEOPLE  WRITE  POORLY. 

That  there  is  more  poor  than  good  writing  in  the  world,  no  one  will  deny.  And  that  people  in  general  do  not 
write  poorly  intentionally,  but  are  unable  to  write  well,  no  one  will  deny.  Why  then  are  people  unable  to  write  better? 
The  correct  answer  will  lead  to  the  correct  solution  of  the  heretofore  unsolved  problem. 

Why  people  write  poorly  may  be  attributed  to  three  things,  any  one  of  which  will  seriously  interfere  with,  if  not 
wholly  defeat,  a  good  handwriting. 

The  first  of  these  three  things  which  stand  in  the  way  of  learning  and  writing  a  good  hand  is  the  teaching  of 
children  to  write  before  they  are  old  enough  to  learn  rightly,  and  the  requiring  of  writing  from  children  before  they 
have  been  taught  to  write  well.  This  of  itself  lays  the  foundation  of  poor  instead  of  good  writing,  because  it  encour- 
ages and  develops  the  two  evils  which  block  the  way  to  good  writing — excessive  finger  movement  and  gripping.  These 
are  the  natural  results  of  premature  writing  and  immature  minds  and  bodies.  Finger  movement  and  gripping  are 
the  direct  and  unavoidable  results  of  teaching  and  requiring  children  to  write  a  small  hand.  And  so  long  as  this 
requirement  is  demanded  and  continued,  slow,  cramped,  drawn  writing  will  be  the  result. 

y^   The  remedy  is  to  require  less  writing  on  the  part  of  children  and  to  allow  them  to  write  large  enough  so  that  they 
^ill  of  their  own  accord  use  the  arm  instead  of  the  finger  movement. 

The  second  reason  why  people  write  poorly  is  that  the  forms  heretofore  taught  have  been  too  complex  and  difficult 
for  everyone,  or  even  a  majority,  to  acquire  and  execute.  (The  vertical,  however,  was  too  print-like,  being  thereby 
slow  and  clumsy  in  appearance.)  Writing  must  be  suited  to  the  natural  ability  of  the  many  rather  than  to  the 
dexterity  of  the  few  who  desire  to  become  professional  penmen.  The  author  of  the  Arrri  Movement  Method  of  Rapid 
Writing  was  the  first  to  recognize  this  condition,  and  as  a  result  the  forms  herein  presented  are  at  once  simple,  with- 
'6ut  being  slow,  plain,  without  being  clumsy,  and  rapid,  without  being  scrawly. 

The  third  reason  why  people  write  poorly  is  that  they  have  not  been  trained  in  the  arm  movement;  except  the  few 
who  have  attended  a  school  of  penmanship  or  a  business  college  and  received  instruction  from  a  professional  penman. 
And  where  finger  movement  and  gripping  have  become  a  habit,  it  requires  special  effort  to  overcome  these  evils  and 
to  acquire  the  true  way.  But  this  is  now  made  possible  and  comparatively  easy  by  the  aid  of  the  graded  course  of 
exercises  and  concise  instructions  given  in  this  manual. 


WHAT   IS  GOOD   WRITING? 


Good  writing  is  that  whic^i  is  easily  read  and  easily  and  rapidly  written.  To  be  easy  and  rapid  in  execution,  it 
needs  to  be  simple  in  construction,  normal  in  slant,  and  natural  in  action. 

The  Arm  Movement  Method  of  Rapid  Writing  is  plain,  simple  in  construction,  medium  in  slant,  easy  and  natural 
in  movement,  and  capable  of  the  highest  speed.  Moreover,  it  is  easy  to  acquire  as  compared  with  the  usual  com- 
plex, skillful  hand,  and  therefore  within  the  reach  of  all. 


WHO    CAN    LEARN    TO    WRITE   WELL? 

The  Arm  Movement  Method  of  Writing  is  so  simple  in  form  and  natural  in  construction  that  all  can  learn  to  write 
well  who  are  not  deformed,  and  who  are  willing  to  follow  the  instructions  and  practice  the  copies  as  given. 

Writing  as  here  presented  has  been  shorn  of  its  complexities  and  difficulties,  bringing  it  within  the  normal 
reach  of  all. 

All  cannot  learn  to  write  equally  well,  but  no  one  need  despair.  The  art  is  so  planned  and  presented  that  plain, 
easy  writing  is  an  assured  fact  for  all  who  are  not  indifferent  to  the  importance  of  a  good  handwriting  and  who  are 
reasonably  ambitious  to  possess  it. 


THE  WORTH  AND  PRICE  OF  A  GOOD   HANDWRITING. 

The  worth  of  a  good  hand  writing  cannot  accurately  be  estimated,  but  its  worth  is  in  some  measure  determined 
hv  *>!'•  fact  that  it  is  eagerly  sought,  and  that  its  possessor  finds  it  a  ready  and  valued  servant  at  all  times,  as  well 
Stepping  stone  to  something  better  and  higher.    All  other  things   being  equal,  the  one  possessing  a  good  hand 
senstS  gets  the  desired  position,  and  the  one  who  writes  poorly  loses  it. 


Its  greatest  worth,  however,  cannot  be  measured  In  dollars  and  cents,  as  it  is  a  constant  aid  in  acquiring,  express- 
ing, and  recording  information,  being  cultural  as  well  as  practical.  Moreover,  it  is  a  life  companion,  ever  ready  to  help 
if  it  is  good,  or  to  hinder  if  it  is  bad,  in  the  struggle  for  advancement  and  success. 

The  price  of  a  good  hand  writing  is  not  talent  but  toil.  Study  and  practice  backed  by  determination  is  sure  to 
bring  results.  Of  course,  to  become  a  masterful  penman,  takes  talent  as  well  as  toil,  but  to  learn  to  write  a  good, 
rapid  hand,  common  sense  and  persevering  practice  are  all  that  is  needed. 

One  can,  in  a  few  months,  learn  to  write  such  a  hand  that  writing  ever  after  will  be  a  pleasure  and  benefit.  Now 
is  the  time  to  begin.  Be  wise  today,  and  be  a  good  penman,  by  beginning  the  study  and  practice  herein  outlined  for 
your  benefit. 


STUDY  AND  PRACTICE. 


Two  things  are  essential  to  success  in  learning  to  write.  Tlie  first  is  study  and  the  second  is  practice.  Neither 
ane  alone  can  produce  good  results,  but  the  two  combined  insures  success.  , 

Study  is  necessary  to  learn  the  form  of  letters  and  to  decide  upon  the  method  of  their  production.  fStudy  is  also 
necessary  to  detect  mistakes  and  dictate  the  remedy/  '^ 

Practice  Is  necessary  to  learn  to  produce  the  form  which  study  has  evolved.  Practice  is  necessary  to  train  the 
muscle  to  obey  the  dictates  of  the  mind.    It  is  only  by  practice  that  we  become  proficient  In  writing  as  in  other  things. 

Studied  practice  tends  toward  pixrfection.  Remember,  not  study  alone  nor  practice  alone,  but  the  two  combined 
are  the  essentials  to  success. 


FORM    AND    MOVEMENT. 


Failure  follows  when  form  is  considered  alone,  or  when  movement  is  considered  alone;  but  success  follows  when 
form  and  movement  are  combined.  Form  is  essential  to  give  legibility,  and  movement  is  essential  to  facilitate 
execution. 

If  the  form  is  simple  and  graceful  in  construction,  the  movement  necessary  for  its  production  must  be  of  like 
character;  it  must  be  simple  and  graceful  also.  If  the  movement  is  wild  and  awkward,  scrawling,  awkward  forms 
must  necessarily  be  the  result. 

Persons  sometimes  say  "I  have  the  movement  all  right,  but  there  is  something  wrong  with  the  form  of  the 
letters."  The  facts  are  that  the  movement  is  not  right  or  the  forms  would  be  right,  for  forms  are  but  pictures  of 
motions.  And  as  it  is  a  poor  rule  that  will  not  work  both  ways,  we  can  also  as  truthfully  say  that  motions  are  but 
pictures  of  forms. 

Therefore,  form  and  movement  need  to  go  hand  In  hand,  as  forms  are  necessary  for  movements  to  act  upon,  and 
movements  are  necessary  to  create  and  multiply  forms. 

The  sayings,  "sacrifice  form  for  movement."  and  "sacrifice  movement  for  form,"  are  each  one-sided  and  reveal 
that  both  are  but  half  truths,  which,  if  combined,  sacrifice  neither  form  nor  movement,  and  produce  a  perfect 
whole,  as  well  as  practical  writing. 


THE  ARM    MOVEMENT. 


There  are  a  number  of  movements  employed  in  writing,  it  being  impossible  to  write  with  one  set  of  muscles  and 
with  one  movement  or  motion. 

The  fingers  are  too  short  to  propel  the  pen  rapidly  and  easily,  and,  as  a  natural  consequence,  they  soon  tire  and 
fail  to  do  the  work  easily  and  well.  Finger  movement  is  easily  acquired  but  tiring  to  use,  and  inadequate  to  meet 
modern  commercial  needs. 

Arm  movement  is  what  its  name  implies;  the  use  of  the  arm  instead  of  the  fingers  to  propel  the  pen.  The 
muscles  of  the  arm  are  strong  and  powerful  and  are  capable  of  doing  a  great  deal  with  but  little  sense  of  tire  or 
exhaustion. 

The  true  function  of  the  fingers  is  to  hold  the  pen  while  the  arm  propels  it.  They  may  also  assist  in  minor 
details,  but  nothing  more.  •^'' 

Arm  movement  Is  somewhat  difficult  to  acquire  and  control,  but  when  once  mastered  it  is  then  easy  and  pleasu  ^^ 
able.    Arm  movement  makes  writing  graceful,  easy,  and  forceful,  and  is  therefore  suited  to  the  demands  of  buslne^  ^ 

6 


As  presented  in  this  manual,  arm  movement  is  the  most  scientific  method  of  writing  ever  published,  being  the 
same  as  used  by  the  world's  leading  penmen,  and  as  evolved  by  the  author  after  twenty  years  of  experiment,  study, 
practice,  and  observation. 

You  will  therefore  make  no  mistake  to  acquire  it  and  to  teach  it  to  others. 


HOW  TO  ACQUIRE  THE  ARM   MOVEMENT. 

Let  the  full  weight  of  the  fore-arm  rest  on  the  fleshy  part  just  forward  of  the  elbow,  the  latter  extending  over  the 
edge  of  the  desk  or  table.  In  order  that  this  fore-arm  rest  may  be  free  to  act  in  all  directions  without  slipping  upon 
the  table,  the  clothing  from  the  elbow  forward  should  be  loose  and  large. 

The  hand  should  rest  and  glide  upon  the  tips  of  the  third  and  fourth  fingers,  or  upon  the  little  finger  alone,  either 
upon  the  nail  or  side  of  the  first  joint.     See  illustrations. 

The  fore-arm  rest  serves  as  the  center  of  action  and  control,  while  the  little  finger  serves  as  a  gliding  rest  and 
control.    The  latter  aids  in  making  figures  and  in  such  letters  as  o  and  a. 

The  muscles  which  cause  the  arm  to  move  in  and  out  the  sleeve  are  situated  about  the  shoulder.  Those  which 
cause  the  fore-arm  to  move  sidewise  are  situated  on  the  upper-arm  between  the  elbow  and  shoulder.  The  muscles 
which  propel  the  fingers  and  hold  the  pen  are  situated  in  front  of  the  elbow,  and  are,  used  as  a  cushion  for  the  arm  to 
rest  and  act  upon. 

All  of  these  muscles  co-operate  in  what  is  termed  Arm  Movement,  and  need  to  be  trained. 

The  exercises  in  this  manual  are  so  arranged  and  graded  as  to  develop  this  movement  if  the  instructions  are 
followed. 


TRAINING. 

To  train  in  any  line,  one  must  practice.  It  is  only  through  intelligent  practice  that  any  art  can  be  acquired.  It 
is  only  through  intelligent  practice  that  good  penmanship  is  acquired.  One  must  put  the  arm  in  motion  and  keep  it 
in  motion  in  order  to  train  it  to  do  things  well.  Therefore  you  must  place  the  arm  in  action  and  keep  it  acting 
until  improvement  is  produced,  if  you  would  learn  to  write  well. 

Repetition  is  necessary,  as  it  takes  many  efforts  to  acquire  anything  so  desirable  as  the  art  of  writing.  You  must 
therefore  expect  to  put  forth  one  effort  after  the  other  in  the  same  direction  until  you  accomplish  your  end.  The 
muscles  of  the  arm  are  large  and  the  forms  used  in  writing  are-«m^ll,  therefore  much  careful  practice  is  necessary 
to  train  the  muscles  to  act  quickly  and  accurately. 

But  good  writing  is  sure  to  follow  careful  and  persistent  practice.  The  task  will  at  times  seem  difficult,  but  at 
most,  it  need  not  exceed  a  few  months,  and  when  it  is  once  acquired  it  will  last  a  lifetime. 


HOW  TO  PRACTICE. 


First,  study  critically  the  form  to  be  practiced.  See  how  many  turns,  angles,  and  loops  it  contains;  how  wide 
and  high;  how  slanting;  etc.  Endeavor  to  so  Impress  the  form  upon  the  mind  that  you  can  close  your  eyes  and  see 
it  plainly. 

Second,  retrace  slowly  with  a  dry  pen  the  letter  to  be  practiced.  This  will  help  to  create  a  clear  concept  and  a 
definite  knowledge  of  how  the  letter  is  constructed. 

Third,  practice  freely  with  the  arm  movement  the  exercises  until  improvement  is  shown,  even  though  it  takes  a 
hundred  sheets  of  paper.    Then  go  on  to  the  letter,  word,  or  sentence. 

Fourth,  criticise  your  practice  very  carefully,  taking  sufficient  time  to  locate  the  principal  fault  and  to  decide  upon 
a  remedy.    Then  endeavor  to  overcome  the  fa\iit  and  to  acquire  the  correct  mode  and  form  the  proper  habit. 

Fifth,  endeavor  to  devote  a  certain  amount  of  time  each  day  to  improve  your  penmanship. 

Sixth,  do  all  of  your  writing  with  as  much  care  as  time  will  admit,  for.  after  all.  care  is  the  one,  main,  common 
sense  essential  of  good  writing. 


BEFORE   AMD  AFTER. 

Before  beginning  to  practice  from  tliis  booli  write  in  yoiir  very  best  hand,  using  black  ink,  the  following: 

This  is  a  specimen  of  my  penmanship  before  beginning  study  and  practice  in  the  A  rm  Movement  Method  of  Rapid  Writing. 

Sign  your  name  and  date  the  same. 

After  practicing  therefrom  write,  sign,  and  date  the  same  as  the  al)ove  and  send  the  two  to  the  publishers.  If 
sufficient  improvement  has  been  made,  and  your  handwriting  is  good  in  form  and  movement,  a  beautiful  certificate 
or  diploma  signed  by  the  author,  with  .your  name  lettered  thereon,  will  be  granted,  certifying  to  your  skill  and  pro- 
ficiency.   A  charge  of  only  fifty  cents  will  be  made  lor  engrossing  name,  mailing  in  tube,  etc. 

Now  is  your  chance  to  get  a  good  handwriting,  and  a  diploma  as  well. 


PERSONAL   CRITICISMS. 

Persons  practicing  from  this  manual  who  are  desirous  of  receiving  personal  criticisms  upon  their  practice,  as 
well  as  additional  information  and  instruction,  should  write  to  the  author,  who  will  doubtless  be  able  to  provide  the 
services  desired. 


THE    WRITING    LESSON. 


Materials  should  be  good  in  quality,  and  orderly  arranged.     But  little  time  should  be  spent  in  their  distribution 
and  collection. 

The  writing  lesson  should  not  follow  active,  outdoor  exercise,  and  should  come  late  rather  than  early  in  the  day. 

Movement  exercises  should  precede  the  practice  of  letters,  words,  and  sentences.     Movement  needs  careful,   en- 
thusiastic attention  and  drill. 

Counting  is  the  best  means  of  arousing  enthusiasm,  keeping  the  class  working  together,  and  giving  definite  ideas 
as  to  how  fast  to  write. 

Practice  upon  blank  paper  should  precede  the  work  in  the  book.     Indeed,  one  or  two  lessons  can  very  profitably 
be  given  an  piper  before  placing  the  worlv  in  the  book. 

Position  of  body,  pen  holding,  form,  and  movement  need  to  be  emphasized  each  lesson. 
.  Tlie  blacl;bonr:'  c!;ould  be  used  to  illustrate  form,  to  criticise  common  faults,  and  to  instruct  by  example. 

The  c'pybook  o.nr.ot  do  all;  neither  can  the  blackboard;  but  both  are  helps  in  the  hands  of  a  live,  wide-awake, 
enthusiastic,  qualified  teacher. 

Keep  form  and  movement  as  closely  related  as  you  can,  at  all  times.    Never  divorce  them. 

Kmph'ti/.J  forni  "ud  movement,  but  do  not  neglect  minor  things  as  "trifles  make  perfection." 

Discr,nng3  pencil  wriLing  by  encouraging  pen  writing  from  first  to  last. 

It's  the  backv.'ard  pupil  rather  than  the  prodigy  that  needs  your  encouragement. 
>  Hell)  a  puuil  to  improve  by  first  finding  the  error;  second,  by  explaining  the  cause;  and  third,  by  giving  a  remedy. 

Devote  about  one-half  of  each  lesson  to  movement  drills  and  muscle  training;  the  other  half  to  form,  and  details 
'•i  execution. 

Learn  to  write  well,  as  example  is  better  than  precept,  and  the  two  work  best  together. 


MATERIALS. 

Good  pens,  ink.  paper,  and  holders  are  essential  to  go xl  writing.  The  pen  holder  should  be  of  wood  or  rubber 
and  not  of  metal.  The  latter  are  dear  at  any  price,  and  nat'iral  wood  are  the  best.  Pens  should  be  smooth  and  neither 
very_fine  nor  coarse.  Ink  should  be  free  flowing  and  as  black  as  can  be  had,  providing  it  is  noncorrosive.  Paper 
should  be  white,  fairly  smooth,   firm,  carefully  ruled,  and  convenient  in  size. 

Ho-,v  good  rather  than  how  cheap  should  be  your  guide  in  purchasing  supplies.  As  "a  workman  is  known  by  his 
tools."  ro  a  penman  may  be  known  by  his  materials. 

8 


HEALTH. 

Good  writing  is  the  product  of  correct  training.  Correct  training  is  dependent  upon,  or  at  least  modified  by.  good 
health  Good  health  is  the  result  of  right  living.  Right  living  is  the  recognition  and  practice  of  norma!  forces  which 
may  be  termed  sleep,  food,  and  exercise.  See  that  enough  sleep  is  taken  at  the  right  time,  which  means  during  the 
night  time.  See  that  your  foods  are  healthful,  well  cooked,  carefully  selected  in  accordance  with  your  needs,  "and 
slowly  eaten.  Grains,  vegetables,  fruits,  nuts,  fish,  and  milk  are  healthful  and  less  likely  to  be  harmful  than  meits, 
coffees,  pastries,  etc.  Try  it  and  you  will  be  convinced,  E.xercise  should  be  neither  extremely  heavy  nor  exciting,  but 
much  the  same  as  in  doing  useful,  serviceable  things.  Brisk  walking  is  the  best  because  it  leads  to  free,  open  air 
breathing,  and  erect  posture. 

Learn  to  live  a  simple,  healthful  life,  learn  to  write  a  simple,  serviceable  hand,  and  life  will  last  longer  and  be  the 
better  for  it  and  for  you. 


COUNTING    OR    MARKING   TIME. 

Counting  is  a  means  of  uniforming  the  movement,  keeping  the  class  working  enthusiastically  together,  and  giving 
an  idea  as  to  about  how  fast  to  practice.  Exercises,  principles,  letters,  and  letter  exercises  (letters  joined)  can  be 
counted  for  very  successfully;  but  counting  for  words  and  sentences  is  impracticable,  because  not  all  letters  are  made 
on  the  same  time;  that  is,  with  the  same  speed. 

The  usual  method  of  counting  is  with  the  voice,  but  time  may  be  indicated  by  tapping,  by  the  metronome,  or  by 
a  musical  instrument. 

In  exercises,  one  count  is  usually  given  for  each  down  stroke;  in  principles,  one  or  two  counts  for  each;  and  in 
letters,  two  or  three  counts  for  each. 


HOW  FAST  TO  PRACTICE  AND  WRITE. 

It  is  very  important  to  know  about  how  fast  to  practice,  as  improvement  and  excellence  depend  upon  it.  Slow 
writing  is  of  little  value  as  is  also  rapid  scribbling.  Slow  writing  is  usually  cramped  writing,  and  should  never  be 
practiced.    Some  say  it  is  drawing,  but  such  is  not  the  case,  as  drawing  is  highly  educational  and  valuable. 

Some  say  "sacrifice  form  for  movement  and  speed,"  but  3  tliincr  nnoe  sacrificed  is  hajrl^tojregain  or  bring  to  life. 
In  slow  writing  freedom  is  sacrificed,  and  in  rapid  learning  form  is  sacrificed.     Both  are  extremes."  ' 

The  true  way  is  to  practice  neither  very  rapidly  nor  very  slowly,  which  means  with  an  easy,  uniform,  free,  grace- 
ful arm  movement. 

In  practicing  upon  such  letters  joined  as  u,  n,  m.  and  a.  about  12.5  downward  strokes  should  be  made  to  the 
minute,  and  in  such  letters  as  o.  c,  r,  and  s,  about  80  down  strokes  should  be  nia<le  to  the  minute.  This  will  be  neither 
fast  nor  slow,  but  at  such  speed  as  to  encourage  ease  and  excellence;  ease  in  execution  and  excellence  in  form; 
the  two,  real,  valuable  essentials  in  handwriting. 


LEARNING  AND   UNLEARNING. 

Two  things  are  necessary  on  the  part  of  all,  except  children,  to  learn  to  write  well.  The  first  is  to  unlearn  some 
of  the  things  acquired  when  too  young  to  learn  correctly,  and  under  improper  instruction.  The  second  is  to  acquire 
the  correct  method  of  practice  and  to  form  correct  habits  of  action. 

The  movement  exercises  as  planned  and  arranged  in  the  Arm  Movement  Method  of  Rapid  Writing  accomplish 
two  things  at  one  and  the  same  time:  they  overcome,  counteract,  and  break  up  excessive  finger  action  and  slow, 
cramped  movement;  and  lay  the  foundation  for  an  easy,  graceful,  practical  handwriting. 

To  leave  behind  you  old  faults  and  to  acquire  correct  habits,  begin  intelligent,  enthusiastic  and  persistent  prac- 
ce  upon  the  work  as  planned,  and  a  successful  hand  writing  is  yours  for  service  and  for  pleasure. 


PENMANSHIP   PHILOSOPHY. 


The  simple  lever,  comprising  the  power,  fulcrum,  and  weight,  illustrates  how  large,  heavy  bodies  are  moved  by 
imparatively  little  nower.  In  other  words,  it  shows  how  motion  represented  by  P  may  be  converted  into  force  rc^r:- 
inted  by  W,  through  the  agency  represented  by  F. 

9 


<=X^  c9/fj>^/m  /?/ler6?9un/^9/lc///'^r/^/^y9i/^(7//'n^^^^^ 


produce 
muscles 
used    to 

P  must 


In  writing,  the  principle  may  be  represented  by  the  lever  and  pulley     The 
pulley  or  string  represents  the  power,  the  elbow  or  F  represents  the  fulcrum, 
and   the  hand  or  W   represents  the  weight.     Power  is  thus   used   to 
motion.     It  is  nature's  way  to  multiply  motion.     The  large,  powerful 
of   the    upper-arm    and    shoulder   are    used    to    multiply    motion — are 
increase  activity. 

The  boulder  represents   resistance;    the  pen  represents  activity. 
'/tt>iit<,',ct  jjgj  much  to  move  the  boulder  a  little;  P  needs  to  act  but  little  to  move  the  pen 

much.  Comparatively  little  Power  is  necessary  to  move  the  boulder,  representing  great  resistance,  a  small  distance; 
comparatively  great  Power  is  necessary  to  create,  sustain,  and  control  the  hand,  representing  great  activity,  a  great 
distance,  for  the  pen  in  its  flight  during  an  hour  or  day  travels  a  long  way. 

This  explains  why  it  is  so  easy  to  create  movement  in  writing  and  why  it 
is  so  difficult  to  control  movement.  The  fulcrum  represented  by  the  elbow  being 
so  far  removed  from  the  weight  represented  by  the  pen,  the  control  or  manage- 
ment of  the  letter  is  correspondingly  difficult. 

When  the  little  finger  is  used  as  the  fulcrum,  the  control  of  the  pen  is 
comparatively  easy,  but  its  propulsion  is  quite  tiring.  Hence  the  ease  with  which 
one  learns  to  write  with  the  finger  movement,  and  the  result  of  tire  and  even 
paralysis  when  much  writing  must  be  done  with  that  movement. 

This  makes  it  plain  why  arm  movement  is  difficult  to  acquire  but  easy  after  it  is  learned,  and  why  finger  move- 
ment is  easy  to  acquire  but  tiring  after  it  is  learned.    The  end,  not  the  means,  is  what  should  be  considered. 


Jfcttviti^ 


PENMANSHIP    PHYSIOLOGY. 


The  human  body,  particularly  the  hand  and  arm,  is  a  machine  by  which  writing  is  done.  To  develop,  care  for,  and 
train  this  rpachine.  one  needs  to  understand  it,  else  injury  may  result. 

The  parts  most  directly  related  to  writing  are  the  fingers,  hand,  fore-  and  upper-arm,  and  shoulder.  These  parts 
are  composed  of  bones,  muscles,  ligaments,  tendons,  blo'id  vessels,  nerves,  tissue,  etc..  etc. 

The  nerves  stimulate  activity  as  well  as  convey  information.  The  blood  vessels  convey  food  to  the  muscles,  bones, 
nerves,  and  tissue.  The  bones  serve  as  levers  for  action,  and  as  a  framework.  The  muscles  are  the  agents  of  motion, 
acting  upon  the  levers  from  the  impulse  from  the  nerves. 


1  COLLAR    BONE 

2  SHOULDER  BLADE 

3  ACROMION  PROCESS 
4C0RAC0ID 

5  HUMERUS 

6  OUTER  CONDYLE 

7  INNER 

8  RADIUS  (TURNS  HAND) 

9  ULNA 

10  CARPALS 
U  METACARPALS 
la  PHALANGES 


1  CLAVICULA-COLLARBONE 

2  SCAPULA-SHOULDER  BLflOe. 

3  ACROMION  (HIQHCiTPOINTj  PROCESS. 

4  COR ACOlO  (crow's  BEAkJ  PROCESS 

5  HUMERUS. 

6  OUTER  CONDYLE 

7  INNER  COMDYLE (INNER POlMT Of  ELBOWJ. 

8  RADIUS  (JOINS  OUTER  CONDYLt) 

9  ULNA  (joins  INNER  CONDYLE). 

10  CARPAL  (6  60NE5  OF  wrist) 
U  METACARPAL  (3  60NES  OF  hand), 

S(l4  BONES  OF  FlNCiERS). 


The  hand  contains  twenty-seven  bones  as  follows:  8  carpals  (in  the  wrist),  5  meta  carpals  (in  the  palm),  and  14 
phalanges  (in  the  fingers).  The  fore-arm  contains  two  bones:  the  ulna  which  joins  the  under  point  of  elbow  and 
the  little  finger  side  of  the  hand,  and  the  radius  which  joins  the  thumb  side  of  the  hand  and  the  upper  part  of 
elbow.  The  upper  arm  contains  one  bone  called  the  humerus.  The  shoulder  contains  three  bones;  the  head  of  the 
humerus,  the  scapula  or  shoulder  blade,  and  the  clavicle  or  collar  bone. 

10 


The  muscles  which  move  the  fingers  and  open  and  close  the  hand  are  situated  in  the  fore-arm,  the  larger  portion 
being  in  front  of  the  elbow.  The  muscles  which  move  the  fore-arm  and  cause  it  to  act  as  a  hinge  at  the  elbow  are 
situated  in  the  upper  arm  between  the  elbow  and  shoulder.  The  muscles  which  move  the  upper-  and  consequently 
the  whole  arm,  are  situated  back,  on  top,  and  in  front  of  the  shoulder. 

Thus  it  is  that  the  muscles  which  move  the  fore-arm  are  situated  on  the  upper-arm  and  somewhat  removed  from 
the  member  in  action  or  being  acted  upon.  These  muscles  act  much  as  the  string  and  pulley  as  illustrated  in  the 
chapter  entitled  "Penmanship  Philosophy."  Large,  powerful  muKcle.=i  are  therefore  used  to  create  many,  small, 
rapid,  continuous  motions  as  used  in  writing. 

These  muscles  are  taught  to  act  quite  quickly  and  rapidly  by  correct  and  persistent  training.  The  exercises, 
principles,  letters,  letter-exercises,  words,  etc.  in  this  manual  are  used  as  penmanship  gymnastic  exercises  to  train 
the  muscles  to  do  the  mind's  bidding.  It  is  only  by  such  training  that  correct  learning  is  possible.  And  it  is  only 
through  intelligent  practice  that  improvement  is  sure  to  come.  Intelligent  practice  implies  knowledge  of  the  machine 
which  does  the  writing,  to  keep  it  in  order,  and  to  train  it,  and  of  the  forms  to  be  written,  to  know  how  best  to 
construct  and  execute  them. 


PENMANSHIP   PSYCHOLOGY. 


Mind  manifests  itself  through  the  brain,  spinal  cord,  nerves,  and  muscles.  Brain  seems  to  be  the  dynamo  in  which 
mind  generates  power  or  manifests  itself.  The  spinal  cord  is  the  main  channel  through  which  the  mind  acts.  Nerves 
transmit  energy  and  intelligence.    Muscles  act  by  means  of  stimulus  from  the  nerves. ,, 

Mental  functions  are  described  as  feeling,  knowing  and  willing.  We  first  feel,  see,  hear,  smell,  or  taste.  We 
next  become  conscious  of  these  feelings  or  perceptions  and  know.  We  then  desire  to  do  something,  and  the  act  of 
doing  is  called  will.  As  concerns  writing,  the  process  is  as  follows:  through  the  eye  the  mind  perceives  form;  the 
mind  become  conscious  of  said  form  and  desires  to  produce  it;  the  will  says,  "all  right."  and  directs  the  muscles  to 
perform  that  which  the  eye  observed  and  the  mind  perceived. 

We  have  also  three  actions  of  the  mind  known  as  volun'.ary,  involuntary,  and  reflex  actions.     Voluntary  acts  are 
conscious  and  under  the  direct  control  of  the  intellect  and  will.     Involuntary  acts  are  those  which  preserve  life  such 
as  breathing,  digestion,. circulation, £lc^,  and  are  not  only  unconscious  hut  sometimes  independent  of  the  will.     Reflex 
acts  are  those  which  become  habitual,  such  as  talking,  walking,  writing,  etc.    Al  first  they  are  conscious^  but  through  i^ 
repetition  and  practice  they  become  automatic.  •■  '  i. .   ■  .  i  .-.-vi 


Nerves  are  of  two  kinds;  in-carrying  or  sensory  nerves,  and  out-carrying  or  motor  nerves.  The  former  car 
messages  to  the  bfain  from  the  senses,  and  the  latter  carry  messages  from  the  brain  to  the  muscles.  The  hand  is*^" 
therefore  in  direct  communication  with  the  mind  by  these  nerves  which  act  as  telephone  or  telegraph  lines.  This  con- 
nection is  so  close,  real,  and  intelligent,  that  the  hand  is  now  very  generally  considered  as  projected  brain.  The  hand 
is  also  recognized  as  the  ready  servant  of  the  mind,  ever  ready  to  do  its  bidding.  So  successful  does  this  service  or 
performance  become  through  conscious  thought  and  consequent  repetition,  that  the  hand  learns  to  do  many  wonderful 
and  skillful  acts  almost  unconsciously.  Walking,  talking  and  writing  are  three  of  many  of  these  semi-  or  unconscious 
acts. 

At  first  they  are  all  thoughtful  and  difficult,  but  by  repeated  effort  they  become  quite  easy  and  thoughtless  in 
performance.  We  become  skillful,  graceful,  good  walkers  in  proportion  to  our  careful,  skillful  practice  in  walking. 
We  become  good  talkers  if  we  give  thought  to  substance  and  utterance.  We  become  good  penmen  in  proportion  to 
our  skillful  practice  of  good  penmanship  in  writing. 

The  hand  unconsciously  endeavors  to  perform  the  dictates  of  the  mind.  If  the  latter  dictates  good,  clear,  tangible, 
accurate,  specific  forms,  the  hand  will  produce  them  almost  faithfully.  The  reason  we  have  so  much  poor  penmanship 
in  the  world  is  that  people  think  very  indefinitely  about  the  forms  they  are  endeavoring  to  execute. 

Think  good  forms  and  the  nerves  will  convey  the  message  to  the  muscles  and  they  in  turn  will  execute  them  on 

rr  )er.    This  is  psychology  simplified  but  none  the  less  scientific  and   trustworthy.     It  is  not  a  theory,  but  a  fact  or 

ditio...  ,^-t  ■"ou  will  therefore"  make  no  mistake  in  storing  up  perfect  percepts  of  form.     To  do  this,  you  need  to 

dy  form  criticsi.'.y  ''  the  proportion  of  the  letter,  its   general   shape,   location,   number,  and   character  of  its 

!S.  loops,  angles,  ete." 

Know  good  form,  think  go.^.   <'orm.  will  good  form,  and  you  will  soon  write  good  form.    This  manual  is  arranged 
acilitate  getting  the  necessary  K.-owledge  of  form  and  the  necessary  skill  to  execute  it.     Follow  the  thought  and 

on  and  good  writing  will  follow  as  surely  as  night  follows  day. 

11 


VERTICAL   WRITING. 

It  came,  it  conquered,  and  in  turn  was  conquered  by  that  which  i.s  better  than  it  or  its  predecessors.  It  came  as 
a  protest  against  extreme  slant  and  ans;ularity.  Itself  an  extreme  in  rotundity  and  uprightness,  it  could  not  remain 
long  unchanged.  As  a  consequence,  the  compromise  between  tio  and  much  slant,  between  angularity  and  rotuidity, 
between  extreme  largeness  and  smallness,  between  heaviness  and  daintiness  is  here,  and  here  to  remain  indefir.itely. 

Vertical  Writing  emphasized  legibility  and  simplicity  more  than  they  had  ever  before  been  emphasized,  a  id  in 
so  doing  did  a  good  work;  a  work  which  livet  today,  and  will  continue  to  live,  in  its  successors.  It  did  much  good, 
a  little  harm,  and  jiassed  as  a  potent  factor  in  penmanship.  Such,  also,  was  the  fate  of  Spencerian,  the  angular  style, 
and  the  old  round  hand.     Each  paved  the  way  to  something  better. 

Let  us  give  each  its  due,  revere  the  memory  of  their  various  authors,  and  ptish  on,  facing  the  dawn  of  new  condi- 
tions, adopting,  adapting,  and  developing  as  did  they,  and  thereby  add  our  part,  be  it  much  or  little,  to  the  general 
good  of  good  writing. 


POSITION     OF    BODY. 

Two  things  are  essential  in  position  while  writing:  health  and  efficiency.    The  first  is  necessary,  not  only  to  good 


writing  and  to  prolonged  writing,  but  to  the  enjoyment  and  performance  of  any  art  or  act. 
to  make  writing  thoroughly  practical  and  easy  in  execution. 

Keep  both  elbows  near  the  edge  of  the  table  or  desk,  as  by  so  doing  the  shoulders  are 
straight  laterally.    Lean  slightly  forward,  bending  at  the  hips.     By  all  means  keep  the  b?  ,.>  ■ 
the  body  from  breaking  and  forming  a  wrinkle  between  the  abdomen  and  stomach. 

The  light  should  come  from  the  left  and  not   -irectly  from  in  front. 

The  feet  should  be  kept  somewhat  apart  and  uncrossed. 

12 


The  second  is  n'-"'^ssary 

■^*  even  and  the  spine 
jm  bowing  outward  and 


<=>^  cMc.^/m/?/l€-r6^^uu/-J/k/Arr/^pi^u'//^^^^^        ^^>^=^ 


POSITION  OF  ARM,  HAND.  AND  PEN. 

The  full  weight  of  the  arm  should  rest  upon  the 
cushion  of  muscle  in  the  front  of  the  elbow,  thus  form- 
ing the  center  of  motion  and  control.  The  clothing  of 
the  fore-arm  should  be  loose  and  light,  in  order  to  give 
freedom  and  ease  to  movement. 

The  hand  should  rest  and  glide  upon  the  little  finger 
along  the  side  and  just  back  of  the  nail.  This  gliding 
rest  should  move  freely  toward  the  right  in  making  the 
up  strokes  in  the  small  letters.  It  should  slip  freely  in 
large  forms  such  as  capitals  and  long  loops. 


POSITION 


EN.  HAND  AND  FORE-AflM. 


qLioiNq   REST 


ARr-1     REST 


The  holder  should  point  above  and  somewhere  be- 
tween the  elbow  and  shoulder.  It  should  cross  the  hand 
somewhere  near  the  knuckle  joint  of  the  first  finger.  If 
the  hand  and  fingers  are  long,  as  in  some  adults,  it 
should  cross  above,  but  if  short,  below  as  in  the  illustra- 
tion. The  holder  should  be  held  at  an  angle  of  about 
forty-five  degrees,  as  the  pen  writes  most  effectively 
when  held  at  that  angle. 

The  side  of  the  palm  of  the  hand  should  not  touch  or 
rest  upon  the  paper,  but  be  kept  free,  allowing  the  little 
finger  only  to  rest  upon  the  paper  or  blotter. 

The  wrist  need  not  be  held  flat,  but  it  should  not 

J 


be  allowed  to  turn  far  enough  to  throw  the  holder  out- 
ward from  the  elbow. 

Hold  the  pen  firmly,  but  do  not  pinch  or  grip  it. 
Try  to  be  sensible  and  natural  about  position  rather 
than  rigidly  formal. 


POSITION    OR    ANGLE   OF   PAPER. 

The  paper  should   be  held  close  to  the  body  when 
writing  at  the  top  of  the  sheet,  and  well  from  the  body 
when     writing 
near  the   bottom. 

The  paper 
should  be  held 
n  e  i  t  her  parallej 
with  the  desk  nor 
at  right  angles 
with  the  fore-arm, 
but  about  midway 
between  these 
two    extremes. 

The  elbow 
should  be  shifted 
from  two  to  four 
times  in  writing 
across  the  page. 
but  never  when 
the  pen  is  on  the 
paper  and  in  motion, 
or  exercises. 

Both  elbows  should  be  kept  near  to  the  edge  of  the 
desk,  and  be  bent  at  about  right  angles.  The  fore-arm 
should  cross  the  desk  at  about  forty-five  degrees. 

A  blotter  should  be  held  with  the  left  hand  so  that  the 
right  one  can  slide  upon  it.  thusipibtecting  the  paper 
from  perspiration  or  oily  secretions  from  the  skin. 


Move  the  elbow  between  words 


INTEREST  AND   ENTHUSIASM. 


Interest  may  be  said  to  concern  the  individual,  and  enthusiasm  the  class.  If  the  teacher  is  enthusiastic  the  class 
will  become  so,  and  each  member  will  become  interested  in  writing. 

Education,  if  it  be  true  education,  is  interesting  and  pleasurable.  Is  your  writing  lesson  interesting^  and  pleas- 
ble?  If  not.  it  is  not  educational.  Then  it  is  your  duty  to  make  it  educational,  by  bringing  to  it  the  same  knowledge, 
1.  and  enthusiasm  that  you  bring  to  your  other  classes. 

The  remedy  is  simple:  prepare  your  writing  lesson  as  carefully  as  any  other.  Cheer  is  as  catching  as  glooiji;* 
d  writing  as  stimulating  as  poor  writing  is  discouraging.  Improve  your  writing  as  well  as  your  teaching  and  the 
3hing  of  writing  will  become  a  delight  and  benediction,  because  it  will  enthuse  and  bless  all   with  a  good   hand. 

it  and  see. 


13 


<=x^  dyAc  /T//n'9/le^/e9?ze^/?/lr//C?t^l^/^/l^^ 


a^^o  cl^^^  (^.Jv-UyU-J^^^ 


IMZ^}"^ 


/^TTt^XlOyO'. 


/TA^^  J^^^Ay^I/^-AA/^.^^ 


/i3U5C>7^90-a. 


MODEL    FORMS    FOR    STUDY   AND    IMITATION. 

The  forms  selected  and  presented  for  study  and  practice  in  the  Arm  Movement  Method  of  Rapid  Writing  are  the 
result  of  many  years  of  study,  observation,  experiment,  and  practice.  They  combine  in  the  highest  degree  the  essen- 
tials of  legibility  and  rapidity.  Being  simple,  they  are  easy  to  acquire  and  easy  to  execute.  Being  graceful  as  well 
as  plain,  they  are  rapid  as  well  as  pleasing. 

The  slant  is  natural,  being  neither  stiff  nor  extreme,  and  the  turns  are  rounding  without  being  clumsy.  The 
forms  are  script' rather  than  print-like  in  character,  and  are  intended  to  be  written  freely  and  not  drawn  slowly. 


Opllona/  Letters. 


Ai?brei^/atLO/75  orSi(^/?J. 

/     a/    er/ 

o      /o     /o 


OPTIONAL   FORMS   FOR   ADVANCED   PUPILS. 

As  people  differ  in  tastes  in  other  things,  it  is  reasonable  to  expect  differences  in  handwriting.  The  forms  given 
above  are  slight  modifications  of  those  given  for  practice  in  the  manual.  These  may  be  substituted  for  the  ones' 
therem  given  by  those  who  prefer,  and  can  make  them  better.  Style  is  of  less  Importance  than  excellence  in  «xecu- 
tion.  Therefore  strive  for  excellence  rather  than  peculiarity.  Stick  to  one,  form  until  you  master  it,  and  then  if  you 
do  not  like  it.  others  will  be  easy  to  acquire. 

14 


TECHNICAL   AND    DESCRIPTIVE    ANALYSIS. 

Letters  have  like  and  unlike  qualities.  Like  qualities  make  them  easy  and  rapid  in  execution,  and  unlike  qualities 
make  them  legible  and  easy  to  read. 

Analysis  emphasizes  these  likes  and  unlikes.  and  acquaints  us  with  the  construction  of  letters,  and  therefore 
with  their  form  and  execution.  No  analysis  means  superficial  and  therefore  inadequate  knowledge  of  form,  while  too 
much  analysis  interferes  with  practice  and  robs  the  lesson  of  interest  and  enthusiasm. 

Principles  are  forms  common  to  a  number  of  letters;  the  thirteen  principles  constitute  the  main  portion  of  all  of 
the  small  and  capital  letters.  Study  these  principles  critically,  and  learn  them  by  number  for  convenience  in  study- 
ing, analyzing,  and  teaching  the  letters. 

The  greater  number  of  principles,  a  system  contains,  the  easier  is  the  analysis  of  the  letters,  as  there  are  fewer 
modifications. 

The  letter  i  contains  one  angle,  one  turn,  one  dot.  and  three  strokes,  and  it  is  about  again  as  wide  as  high,  without 
considering  the  dot.    It  is  also  composed  of  principles  2  and  4. 

The  letter  u  contains  two  angles,  two  turns,  and  five  strokes,  being  sharp  at  the  top  and  rounding  at  the  base. 
It  is  composed  of  principles  2,  4,  and  4. 

The  letter  n  contains  one  angle,  three  turns,  and  five  strokes.  It  is  composed  of  principles  5  and  G.  It  is  also  the 
same  as  u  in  height  and  width. 

The  letter  m  contains  two  angles,  four  turns,  and  seven  strokes,  and  is  like  the  n  except  that  it  contains  one  more 
principle.     It  is  composed  of  principles  5,  5.  and  6. 

The  letter  x  contains  two  turns,  two  angles,  and  four  strokes.  It  is  composed  of  principles  5  and  4.  It  is  con- 
structed by  retracing  a  portion  of  the  first  part  with  the  second. 


(/Wti/^ea  /Iccorc///?^  to  S//n//ar/t/es.         /^na/i/s/s  S/?ou/n  i>i/  //umi>erj.      Studi/  and  ther/  Pract/ce. 


^^. 


/fU/^'^t^Jfy.  /L/Lo^7235?'. 


ac£^     PG/?     v?c      n  7n 


/    2     3      V      5       L         7//  r 


JA       JSX 


T/?e  T/?/rieef?  Pr/nap/es  frci/nC/uf/i/c/?  the  letters  are  Constructed. 
15 


The  letter  r  contains  one  turn,  a  retrace,  and  a  finish  in  the  form  of  a  small  loop.     It  is  composed  of  principles 
5  and  1.     It  is  constructed  by  retracing  the  downward  stroke  of  principle  5  with  that  of  1  without  raising  the  pen. 

The  letter  v  contains  two  turns  and  a  finish  the  same  as  r.    It  is  composed  of  principle  G  and  a  finish. 

The  letter  w  contains  two  angles,  two  turns,  and  a  finish  as  in  v.    It  is  composed  of  principles  2,  4,  and  4. 

The  letter  e  contains  a  loop,  and  is  composed  of  principles  2  and  4  joined  by  a  turn. 

The  letter  c  is  composed  of  jirinciplo   I  with  a  dot  and  turn  to  the  right  of  the  top. 

The  letter  o  is  an  ellipse.     It  is  composed  of  iirinciples  o  and  2.  and  a  finish  as  in  w.     The  principles  are  modified 
liy  being  sliortened.  more  curving,  and  less  slanting. 

The  letter  a  contains  an  oval,  one  angle,  one  turn,  and  four  strokes.     It  is  conii)osed  of  princiiiles  3,  2,  and  4. 
Principle  :!  is  modified  by  being  made  downward.     It  is  an  I  without  the  dot  and  with  principle  3  added. 

The  letter  r  contains  one  acute  and  one  obtuse  angle,  and  one  turn.     It  is  composed  of  principles  2  and  4.     Both 
are  modilicd  slightly.    It  resembles  i  with  a  shoulder  or  hump  in  the  back. 

The  letter  s  is  composed  of  principles  2  and  2,  the  last  being  made  downward  and  more  curving. 

The  letter  t  contains  an  angle,  a  turn,  and  a  retrace;  also  a  letter  I.    It  is  composed  of  principles  2,  1.  and  4.  and 
a  horizontal  straight  line. 

The  letter  d  contains  one  angle  and  one  turn,  and  an  I,  a,  and  uncrossed  t.  It  is  composed  of  principles  3,  2, 1,  and  4. 

The  letter  p  contains  an  inverted  d  with  two  angles.    It  is  composed  of  principles  2,  1,  3,  and  4.    Principles  2  and 

1  are  modified  by  being  made  much  longer. 

The  letter  I  contains  a  loop  and  turn,  and  an  i.    It  is  composed  of  principles  7  and  2. 

The  letter  b  begins  the  same  as  I  and  finishes  the  same  as  w.  It  is  composed  of  principles  7  and  2,  and  finish  as  v. 

The  letter  h  contains  a  loop,  one  angle,  and  two  turns.    It  begins  as  I  and  ends  as  n.    It  is  composed  of  principles 
7  and  0. 

The  letter  k  contains  a  loop,  an  open  oval,  and  one  angle,  and  one  turn.    It  begins  and  ends  the  same  as  h,  and  is 
composed  of  principles  7,  3,  2,  and  4.    Principles  2  and  3  are  modified. 

The  letter  j  begins  the  same  as  i,  and  contains  an  angle,  loop  and  dot.    It  is  composed  of  principles  2  and  8. 

The  letter  y  begins  as  n  finishes,  and  ends  as  j.    It  is  composed  of  principles  6  and  8,  and  contains  two  turns,  one 
angle,  and  a  loop. 

The  letter  z  begins  like  n  and  ends  like  y,  and  contains  one  turn,   one  angle,   and   a  loop.     It   is  composed   of 
principles  5  and  8,  the  latter  being  modified  at  the  beginning. 

The  letter  g  begins  as  a  and  ends  as  j.    It  contains  an  oval,   angle,   loop   and   turn.     It   is   composed   of   principles 
3,  2.  and  >;. 

The  letter  q  contains  a  complete  a  and  i,  and  a  loop.    It  is  composed  of  principles  3  and  2  ,  1  and  2  modified,  and  2. 

The  letter  f  contains  an  I  and  i,  and  begins  like  the  former  and  ends  like  q.    It  is  composed  of  principles  7,  1  and 

2  modified,  and  2. 

The  letter  O  is  an  ellipse  and  is  composed  of  principle  9  with  a  lateral  curve. 

The  letter  A  is  much  like  an  enlarged  small  a,  and  is  composed    of   principles    9.    1,   and    3   modified    in    direction 
and  len.gth. 

The  letter  C  is  composed  of  principle  9  modified,  and  resembles  the  small  c.  but  is  more  rounding. 

^'^The  letter  E  begins  and  ends  as  C,  and  is  composed  of  principle  9  with  a  loop  in  the  center. 

The  letter  D  begins  with  principle  1  and  ends  as  the  O.  It  is  composed  of  principles  1  and  3.  and  9  modified  with 
a  lateral  curve  attached. 

16 


The  letter  P  resembles  the  small  p,  and  is  composed  of  principles  1  and  10  modified,  the  former  in  length,  and 
the  latter  in  shape,  size  and  direction. 

The  letter  B  resembles  P  and  the  inverted  E,  It  is  composed  of  principles  1.  10.  and  10  modified,  and  contains 
one  retrace,  two  open  ovals,  and  one  loop. 

The  letter  R  contains  a  P  and  a  vertical  compound  curve.  It  is  composed  of  principles  1,  10,  and  12,  and  contains 
one  each  of  the  following:     retrace,  oval,  loop,  and  compound  curve. 

The  letter  K  is  composed  of  principles  11,  13,  and  12,  the  last  two  being  modified.    The  letter  ends  the  same  as  R. 

The  letter  H  begins  the  same  as  K  and  ends  the  same  as  O.    It  is  composed  of  principles  11.  3,  1.  3.  and  2.  all  of 

which  are  modified  but  the  first. 

The  letter  N  begins  as  H  and  ends  as  A.    It  is  composed  of  principles  11  and  .5.  the  latter  being  modified. 

The  letter  M  begins  and  ends  the  same  as  N,  and  looks  like  a  tall  small  m.     It  is  composed  of  principles  11,  and 

5  and  5  modified. 

The  letter  V  begins  as  N  and  ends  as  small  v.    It  is  composed  of  principle  12  and  principle  2  modified. 

The  letter  W  begins  and  ends  as  V,  and  is  f^omposed  of  principle  12  and  principles  2  and  4  modified  by  being 
made  longer.     It  also  resembles  the  small  w. 

The  letter  U  begins  as  V  and  ends  as  A.    It  is  composed  of  principle  12,  and  principles  2,  1  and  3  modified. 

The  letter  Y  begins  as  U  and  ends  the  same  as  small  y.    It  is  composed  of  principle  12  and  principles  2  and  8. 

The  letter  J  is  composed  of  principles  3  and  8  modified.    It  finishes  the  same  as  small  j. 

The  letter  I  begins  like  J  and  ends  like  s.     It  is  composed  of  principles  3  and  13  modified. 

The  letter  X  begins  as  H  and  ends  as  A  and  U.    It  is  composed  of  principles  10  and  3  modified. 

The  letter  Z  begins  as  X  and  ends  as  the  small  z.   It  is  composed  of  principle  10,  and  principle  8  modified. 

Tho  letter  Q  begins  as  Z  and  ends  with  principles  3  and  2.    Note  the  difference  in  the  little  loops  of  Z  and  Q 

The  letter  L  begins  as  C  and  ends  as  Q.  It  is  composed  of  principles  13,  3,  and  2. 

The  letter  S  begins  as  I  and  ends  as  s.    It  is  composed  of  principles  7  and  2,  or  7  and  13. 

The  letter  G  begins  as  S  and  ends  with  the  straight  line.    It  is  compof  ed  of  principles  7,  2,  and  1  modified. 

The  letter  T  is  composed  of  principle  1  made  horizontally  and  principle  13. 

The  letter  F  is  the  same  as  T  with  a  cross  similar  to  that  of  the  small  t. 

Note  particularly  the  similarity  of  letters  as  shown  in  the  monograms.  See  differences,  also.  Each  letter  pos- 
sesses some  characteristic  which  distinguishes  it  from  the  other  twenty-five  characters,  therefore  endeavor  to  always 
retain  it  and  thereby  write  legibly. 


17 


<=>'^'^^^/L>^///i'9/U?r.??i£^t/Jj^^^^ 


PLAN  OF 

THE  ARM    MOVEMENT   METHOD  OF   RAPID  WRITING. 

Form  and  movement  are  presented  together,  and  should  go  hand  in  hand  until  a  good  handwriting  follows. 

Capital  and  small  letters  are  alternated  throughout  the  series,  the  one  to  the  benefit  of  the  other,  and  as  they 
occur  in  actual  writing. 

The  Forms  or  styles  of  letters  are  simple  and  yet  not  slow  or  labored.  They  are  the  embodiment  of  plainness, 
ease  and  rapidity:  such  as  the  business  world  needs  and  demands. 

The  copies  were  written  freely  and  represent  practical  rather  than  studied  skill.  They  show  what  can  actually 
be  done  with  a  free  arm  movement. 

Each  and  every  copy  is  accompanied  by  clear,  concise,  practical,  helpful,  needful  instruction,  the  result  of  years 
of  experience,  experiment,  and  practice. 

Every  third  copy  in  Parts  Five,  Six  and  Seven  is  separated  in  the  center,  and  is  intsnded  to  be  written  croiiS'wise 
over  the  practice  upon  the  two  preceding  copies.  ^ 

PARTS    FIVE,    SIX,    SEVEN,    AND    EIGHT. 

Part  Five  comprises  thirteen  smaJl  and  twelve  capital  letters,  the  figures,  movement  exercises  and  principles. 
Tbis  is  intended  for  pupils  ten  years  of  age  and  upward,  and  for  all  who  have  not  mastered  form  and  movement. 

Part  Six  comprises  thirteen  extended  smiall  letters,  fourteen  capitals,  the  figures,  exercises,  principles  and  sen- 
tences.    It  is  intended  to  follow  Part  Five,  and  to  complete  the  elementary  foundation  of  form  and  movement. 

Part  Seven  comprises  all  of  the  letters  and  figures,  exercises,  and  sentences.  It  shotild  follow  Part  Six,  and  carry 
the  work  on  to  a  more  advanced  stage. 

Part  Eight  comprises  letters,  exercises,  sentences,  names  and  addresses,  paragraphs.  Business  Forms,  letter,  etc. 
It  should  follow  Part  Seven  and  carry  the  work  tO'  a  practical,  business-like  end;  an  easy,  rapid,  legible  handwriting. 


FINAL   WORDS   WORTH    HEEDING. 

Each  Copy  should  be  practiced  until  improvement  is  observed,  and,  better  still,  until  the  work  is  satisfactory  in 
both  form  and  movement. 

The  Mastery  of  each  copy  makes  each  succeeding  one  easier,  and  the  whole  art  an  easy  and  assured  possession. 
The  failure  to  master  first  principles  means  failure  all  along  the  line  until  you  return  and  master  them. 

Good  Writing  is  no  slight  task,  nor  is  it  an  indifferent  accomplishment.  Its  worth  makes  it  highly  desirable,  and 
its  acriuirement  depends  upon  the  faithfulness  with  which  you  pursue  enthusiastically  and  practice  intelligently  the 
work  so  carefully  planned  herein. 

After  all,  it  is  interest  in  and  love  for  good  writing  that  makes  it  easy  of  acquirement,  and  its  possession  a  source 
of  satisfaction  and  continual  profit. 


18 


<^:x^  r^'c/T/mMc^'e:^^C9^/^?^lJ^J/l^d^/9^/,M/^^^^ 


PART    FIVE    OR    BOOK    FIVE. 

Comprises  movement  exercises,  principles,  thirteen  small  letters,  twelve  capitals,  words,  and  figures;  all  graded 
and  arranged  specially  for  easy,  speedy,  and  correct  learning,  with  detailed  instructions  accompanying  each  copy, 
together  with  a  modern,  descriptive,  non-technical,  simple  system  of  analysis. 

Every  third  copy  is  intended  to  be  written  crosswise  on  the  paper  over  practice  of  previous  copies,  thereby  utiliz- 
ing paper  and  at  the  same  time  learning  to  write  in  a  straight  line  without  a  guide  other  than  the  eye. 

Letters  are  given  in  groups  according  to  similarity,  the  easiest  ones  being  given  first,  each  leading  to  something 
more  and  more  difficult,  thus  putting  into  practice  and  realizing  the  true  worth  of  the  old  educational  maxim:  "from 
the  simple  to  the  complex." 

Form  and  movement,  for  the  first  time,  have  been  presented  upon  a  par;  neither  having  been  sacrificed,  but  both 
made  ready  servants  from  the  start  in  the  art  of  learning  to  write  well. 

Capital  and  small  letters  are  presented  alternately,  each  to  the  benefit  of  the  other;  the  capitals  to  make  the 
small  letters  free,  and  the  small  letters  to  make  the  capitals  less  scrawling. 

Movement  has  been  inseparably  connected  with  form,  and  not  divorced  from  it  as  has  heretofore  too  frequently 
been  the  case.  Learning  correctly  from  the  beginning  is  here  made  so  easy  and  plain  that  no  one  need  fail  to  acquire 
a  good  handwriting,  as  theory  and  practice,  science  and  art.  form  and  movement  have  been  so  combined  that  the 
road  to  good  writing  is  as  plain  as  the  proverbial  "road  to  market." 


Use  a  rapid  arm  movement.     Keep  the  fingers  fl-om  acting.     Make  about  200  down  strokes  a  minute.     Work  carefully  at  all  times. 


INSTRUCTIONS    FOR    PRACTICE. 

With  the  body  in  a  healthful  attitude,  and  the  fore  arm  resting  upon  the  table,  you  are  ready  to  begin  practice  upon 
the  compact  oval  exercise.  Use  pure  arm  movement,  and  make  about  200  down  strokes  to  the  minute.  Raise  the  pen 
every  couple  of  inches  and  adjust  the  paper  and  elbow  so  that  the  movement  does  not  become  cramped.  JIake  the  ex- 
ercise between  two  bUie  lines,  about  three-eighths  of  an  inch  apart,  and  avoid  open  spaces  or  blots.  Fill  line  after  line 
and  page  after  page  of  this  form  until  you  can  make  it  regular  in  height  and  spacing.  Keeping  constantly  at  it  will 
reward  you  with  a  pleasing  exercise  and  ultimately  with  a  good  hand-writing.  Master  this  exercise  and  the  followin.g 
will  then  be  within  your  grasp.  Work  lively  at  all  times,  counting  1,  2,  3,  4,  1,  2.  3,  4,  1,  2,  3,  4,  etc.  at  the  above  rate 
of  speed. 


See  that  the  arm  works  freely  on  the  muscle  in  front  of  the  elbow.     Sleeve  should  be  loose.     Count  1,2.3.4.5.  6  for  each  oval. 


INSTRUCTIONS    FOR    PRACTICE. 

Review  first  exercise  before  beginning  this.  After  you  have  good  control  of  the  arm.  begin  upon  these  ovals,  and 
see  how  uniform  in  size  and  spacing  you  can  make  them.  Retrace  each  oval  from  six  to  ten  times,  countin.g  at  the  rate 
of  about  200  revolutions  to  the  minute.  The  sleeve  should  be  loose  enough  to  allow  the  arm  to  roll  freely  within 
it.  The  little  finger  should  glide  freely  and  easily  upon  the  side  of  the  first  joint  and  upon  the  blotter.  Keep"  the  pen 
in  good  condition  and  use  it  carefully,  changing  whenever  it  begins  to  scratch  or  make  a  coarse  line.  Stop  practicing 
now  and  then  to  examine  your  work  and  to  compare  it  with  the  copy.  Learn  to  criticise  intelligently  and  you  will 
improve  much  faster. 

19 


Count  right,  left,  right,  left,  right,  left,  at  the  rate  of  about  100  strokes  a  minute.     Let  fore -an-A  act  like  hinge  at  elbow. 


INSTRUCTIONS    FOR    PRACTICE. 

These  exercises  will  give  freedom  from  left  to  right  in  writing  across  the  page.  They  should  be  made  with  the 
fore-arm  acting  like  a  hinge  at  the  elbow.  The  wrist  should  not  ace.  but  all  of  the  motion  should  come  from  and 
center  at  the  elbow.  These  exercises  should  be  practiced  crosswise  over  what  has  been  written  to  save  paper  and  to 
cultivate  the  habit  of  writing  straight  across  the  page  without  a  ruled  line.  Force  the  pen  halfway  across  the  page 
with  a  quick,  sure,  yet  light  action.  The  pen  should  make  a  crisp  but  not  .scratching  sound. 


^^^^^^^^^^^^m 


MODEL    PRACTICE 


This  shows  how  to  practice  crosswise  over  the  previous  work  and  to  do  so  without  defacing  the  copy  if  you  are 
fortunate  enough  to  have  one  on  the  paper  you  are  practicing  upon.  Watch  spacing  between  lines  as  well  as  direc- 
tion of  line.  Work  freely  at  all  times,  never  drawing  or  dragging  the  pen  slowly.  Skill  comes  only  through  training; 
through  activity.  It  is  necessary  to  do  a  thing  many  times  before  proficiency  results.  It  was  so  in  talking  and  walk- 
ing, and  it  is  true  in  writing.    Repetition  is  the  key  to  success. 

20 


<=X^  Cy/u/T//M/?Mere/?uH/0/lr^^^^^^  ^^^'^ 


See  how  uniform  in  height,  slant,  and  spacing  you  can  make  this  exercise.     Drive  the  arm  quickly  in  and  out  the  sleeve. 


INSTRUCTIONS   FOR    PRACTICE. 

This  straight-line  exercise  is  made  with  an  inand-out  or  push-and-pull  action  of  the  arm.  no  finger  or  wrist  action 
being  necessary.  Make  it  lietween  two  blue  lines  and  endeavor  to  secure  uniform  slant.  Make  about  200  down  strokes 
to  the  minute.  See  how  even  you  can  get  the  spacing.  Arm  movement,  like  most  good  things,  is  not  gotten  without 
persistent  effort,  but  it  is  sure  to  yield  to  painstaking,  intelligent  practice,  and  it  is  the  secret  of  good  penmanship. 
Do  not  let  the  lingers  act  in  forming  the  up  and  down  strokes.  Their  function  is  to  hold  the  pen  while  the  arm  propels 
it.  These  exercises  are  given  to  aid  you  to  gain  control  of  the  arm  muscles  so  that  you  can  eventually  write  with 
them,  and  write  well  and  easily  too. 


Use  circular  movement  on  oval  and  push-and-pull  movement  on  the  straight  line.     Retrace  about  six  times.      200  down  strokes  to  the  minute. 


vo/o/o/o/ 


INSTRUCTIONS    FOR    PRACTICE. 

Make  the  oval  and  then  straight  line.  This  going  from  one  to  the  other  quickly  prepares  one  to  go  from  one  letter 
to  another  without  hesitation;  a  Very  necessary  thing  in  actual  business  writing.  Use  pure  arm  movement.  Hold  the 
pen  firmly  but  do  not  grip  it.  Aim  to  preserve  a  neat  appearance  of  the  page,  free  from  blots,  and  systematic  in 
arrangement.  Do  not  be  satisfied  with  fair  results — strive  for  excellence.  If  you  are  sincere  and  persevering,  you 
will  get  what  you  go  after.  Tracing  rapidly  over  the  copy  with  a  dry  pen  will  give  a  better  idea  of  form  and  size, 
and  it  may  have  a  tendency  to  relieve  nervous  tension  as  well.  Criticise  each  line.  See  that  slant  is  uniform  and 
spacing  regular.     See,  also,  that  ovals  are  about  two-thirds  as  wide  as  long. 


Let  the  fore-arm  swing  freely  from  the  elbow  in  making  these  exercises.     The  lower  curve  imll  require  also  some  in-and-out  motion. 


INSTRUCTIONS    FOR    PRACTICE. 

Swing  right,  left,  right,  left,  right,  left  about  100  strokes  to  the  minute.  Let  the  strokes  be  as  regular  as  that 
of  a  pendulum,  and  as  clear  cut  as  the  copy.  No  finger  or  wrist  action  should  be  allowed.  Make  these  crosswise  over 
the  practice  on  the  ovals  and  straight  lines  of  the  previous  copy.  Reverse  the  motion  at  a  given  place  each  time 
so  as  to  keep  the  margins  iierpendicular.  Arm  movement  i,?  easy  after  it  is  once  under  control.  These  exercises  aid 
in  getting  control.  The  better  the  exercises,  the  better  the  control.  Lightness  of  stroke  and  quickness  are  desirable. 
How  well  and  how  easily  should  be  your  motto. 

21 


See  that  little  finger  glides  easily  and  freely  with  the  pen.     Time.  1 .  2.  3.  4.  5,  6.  finish.  1 .  2.  3.  4.  5.  6.  finish.  1.2.3.  4.  5.  6,  finish. 


INSTRUCTIONS    FOR    PRACTICE. 

See  that  the  movement  is  regular,  elastic,  and  free.  Avoid  spasmodic  starts  and  stops,  but  let  the  motion  roll  on 
from  form  to  form.  Motion  should  precede  placing  the  pen  on  the  paper  and  continue  after  it  has  been  raised.  Con- 
centrate the  mind  upon  the  finish,  or  you  may  have  difficulty  to  change  from  the  large  oval  to  the  small.  Aim  at 
perfect  ease  in  execution,  as  that  secures  the  best  results  in  form.  Grace  and  accuracy  are  the  result  of  ease  and 
freedom. 


Arm  movement.     Rolling  motion.    About  70  to  the  minute.    Finish  with  curve  pointing  upward.    No  finger  movement. 


FORM    STUDY. 

The  O  is  composed  of  principle  9  and  a  lateral  curve.     It  comprises  an  ellipse,  and  a 
loop  which  should  end  upward.    The  second  form  resembles  A,  and  the  last  looks  like  I. 

INSTRUCTIONS    FOR    PRACTICE. 

Use  an  easy  rolling  arm  movement.  Curve  both  sides  equally.  After  making  a  line  of  O's,  stop  and  look  them 
over  carefully  See  wherein  they  are  good,  and  wherein  they  are  poor.  Then  endeavor  to  improve  them.  Renieinber 
that  quality  is  essential  as  well  as  quantity.  One  can  practice  too  much  as  well  as  too  little.  Careful,  mtelligent, 
critical  practice  brings  the  best  results,  and  in  the  least  time. 


Sunng  back  and  forth  freely  in  making  first  form.     Make  second  exercise  with  a  rapid  up-and-down  action.     Glide  freely  on  up  strokes. 


INSTRUCTIONS    FOR    PRACTICE. 

Use  gliding  movement  on  the  long  up  strokes.  Little  finger  should  slip  freely  toward  the  right  in  making  them. 
The  straight  line  or  principle  one  is  made  downward  with  little  finger  slipping  but  little.  Make  it  firmly  rather  than 
rapidly,  and  without  much  if  any  finger  movement.  Time,  glide  1,  glide  1,  glide  1,  glide.  About  sixty  down  strokes 
to  the  minute. 

22  ^ 


*^^x^^^  C//icyC6///t//?l(n'c??un/^^/?h//uYl.^/^  Jj^f"^^—^ 


glide  one  glide 


trie  glide. 


See  that  arm  swings  freely  from  the  elbow.     Keep  down  stroke  straight. 


INSTRUCTIONS    FOR    PRACTICE. 

An  easy,  graceful  gliding  of  the  pen  and  hand  is  necessary,  not  only  for  these  exercises,  but  for  successful  writ- 
ing as  well.  These  exercises  are  of  a  two-fold  value  as  they  break  up  and  overcome  excessive  finger  action  and 
cultivate  at  the  same  time  the  correct  action  of  the  arm.  Do  not  hesitate  therefore  to  fill  many  pages  of  such  forms, 
and  to  review  them  frequently.  Instead  of  buying  paper  by  the  nickel's  worth,  get  a  quarter  ream  (250  sheets)  at  a 
time.     It  takes  paper  as  well  as  effort  to  learn  to  write  correctly,  but  it  is  a  paying  investment. 


Angle  at  top,  turn  at  bottom.    Little  finger  glides  freely  in  making  all  upward  strokes.    Place  dot  carefully. 


FORM   STUDY. 

The  I  is  composed  of  principles  2  and  4  with  a  dot  above.  It  contains  one  angle,  one  turn,  and 
three  strokes,  and  is  made  without  raising  the  pen  except  to  make  the  dot.  The  lower  line  shows 
three  common  tendencies  or  errors,  which  should  be  avoided.  The  first  resembles  c  because  the 
down  stroke  is  curved;  the  second  resembles  e  because  it  is  looped  instead  of  being  sharp:  and 
the  third  resembles  r  because  it  is  sharp  at  the  base  and  finishes  with  a  left  instead  of  a  right 
curve. 

INSTRUCTIONS    FOR    PRACTICE. 

Use  the  same  gliding  motion  described  in  the  previous  copy.  See  that  the  movement  centers  at  and  precedes 
from  the  elbow  in  making  such  letters  as  I,  u,  m,  w,  etc.  Time,  1,  2,  3,  dot.;  1,  2,  3,  dot.;  1.  2,  3,  dot  for  the  i:  1  and  3 
for  the  up  strokes,  and  2  for  the  down  stroke.  About  50  to  the  minute.  Not  that  many  each  minute,  but  at  that  rate 
of  speed  when  the  pen  is  on  the  paper. 


Use  a  rapid,  circular  arm  movement  in  making  oval  exercise.    Employ  a  quick,  direct,  straight  arm  action  to  make  second  exercise. 


INSTRUCTIONS    FOR    PRACTICE. 

Make  each  exercise  without  raising  the  pen.  Learn  to  be  quick  and  light  in  action,  and  continuous.  Strength  and 
'scope  come  by  "holding  on"  until  the  exercise  is  completed.  It  encourages  three  things:  up-and-down  action,  free- 
dom from  left  to  right,  and  continuity  of  effort.    All  are  necessary  for  good,  legible,  rapid  writing. 


23 


Keep  a  good  position.     Take  good  care  of  pen.     Watch  slant.    Make  ova!  and  then  straight  line.    Keep  fingers  from  acting. 


'o^a^ 


INSTRUCTIONS    FOR    PRACTICE. 


Always  read  and  re-read  headline  of  copy.  Then  study  the  copy;  its  shape,  size,  and  method  of  making.  Next 
rend  instructions.  You  are  then  ready  to  practice  intelligently,  and  make  improvement  in  accordance  with  your 
mental  and  physical  effort.     Make  oval  and  straight  line  tracers  at  the  rate  of  about  200  down  strokes  to  the  minute. 


MODEL    PRACTICE. 

This  practice  shows  how  every  third  copy  can  be  written  across  that  which  has  been  written  over  once.  Be 
watchful  about  spacing  between  the  down  strokes  as  well  as  between  lines.  See  how  orderly  you  can  keep  your  prac- 
tice sheets.  Systematic  practice  encourages  improvement  more  than  any  other  one  thing.  The  business  man  ad- 
mires order  and  neatness,  therefore  develop  them.     See  the  following  page. 

M 


Start  each  letter  with  a  strong  swing  toward  the  left.     Retrace  neatly  and  finish  with  curve  pointing  downward  to  the  r.'^h  . 


FORM    STUDY. 

The  A  is  a  flattened  oval,  antl  ni\ich  the  same  as  the  small  a  grown  tall.    The  second 
form  resembles  O,  and  the  last  looks  like  G.     Avoid  these  two  tendencies  or  errors. 

INSTRUCTIONS    FOR    PRACTICE. 

Make  the  A  without  raising  the  pen.  Time,  1,  2,  3;  1,  2.  3;  1,  2.  Z;  a  letter  each 
second.  That  means  a  lively  action,  but  that  is  the  kind  in  demand.  Notice  carefully  that  the  A  starts  toward  the 
left  and  slightly  upward,  and  that  it  ends  downward  and  toward  the  right,  both  being  gentle  curves.  Watch  slant  of 
oval  and  last  stroke,  and  curve  first  stroke  more  than  second. 


Keep  down  stroke  straight.     Move  quickly  and  gracefully.     Do  not  use  the  fingers.     Curve  the  up  strokes.     Persevere. 


INSTRUCTIONS    f-OR    PRACTICE. 

Push  toward  the  right  in  making  the  long  up  strokes.  Put  force  as  well  as  freedom  in  your  work.  Aim  to 
make  the  exercise  sharp  at  the  top  and  rounding  at  the  bottom;  just  like  the  small  i.  Swing  gracefully  from  one  line 
to  the  other  with  the  second  exercise. 


Keep  down  strokes  parallel. 


Use  free,  rolling  movement  in  making  circle.     Write  easily  and  gracefully. 


L^<i-<^    ^^-o)      (C-^X_yy 


FORM    STUDY. 

The  u  is  composed  of  principles  2.  \.  ami  4.  It  contains  two  angles,  two  turns,  and  five 
strokes,  and  is  made  without  raising  the  pen.  The  first  of  the  three  imperfect  u's  on  the 
second  line  resembles  a  because  the  first  part  curves  and  the  second  slants  too  little;  the 
second  looks  like  ic  because  the  second  part  curves;  and  the  last  looks  like  n  because  it  is 
not  sharp  enough  at  the  top  or  rounding  enough  at  the  base. 

INSTRUCTIONS    FOR    PRACTICE. 

See  that  the  movement  comes  direct  from  the  elbow  in  making  the  up  strokes,  and  that  the  little  finger  glides 
freely  toward  the  right.  Count.  1.  2.  S;  1.  2.  :5;  1,  2,  3;  one  count  for  oacli  up  stroke;  about  40  u's  to  the  minute,  ilake 
second  part  same  height  as  first,  and  last  turn  no  more  rounding  than  the  first.  Practice  the  u  exercise  between  the 
blue  lines  after  first  writing  the  letters  singly  upon  the  line.  Make  the  ovals  about  the  letters  with  a  quick,  free, 
circular  arm  movement. 


d^  /^/m/?/leic,m^i/9//r/^^^^^^^  ^^^'<=> 


Study  quality  of  line  in  the  up  strokes.     See  how  smooth  and  sharp.     A  free  movement  is  necessary  to  secure  them. 


INSTRUCTIONS    FOR    PRACTICE. 

Cultivate  a  light,  lively  action  and  the  quality  of  line  in  your  writing  will  improve  greatly.  Nervous,  broken  lines 
arc  the  result  of  slowness  ami  cramptness  rather  than  of  real  nervousness  as  is  generally  supposed.  Swing  easily, 
gracefully,  and  lightly  from  one  blue  line  to  the  one  beneath  in  making  the  double-line  lu  exercises.  Ease  in  writing 
comes  by  learning  to  make  exercises  freely  and  gracefully.  Avoid  finger  action  as  none  is  necessary  in  such  work 
as  this. 


Use  a  rolling,  fairly  rapid  arm  movement.     End  0  upward  and  A  downward.     Make  the  former  more  rounding  than  the  latter. 


INSTRUCTIONS    FOR    PRACTICE. 

Go  from  one  letter  to  the  other  without  checking  the  movement,  simply  change  it  slightly  in  the  finishing  of  the 
letters.  Study  the  difference  between  the  letters  in  the  copy  and  then  the  difference  between  yours.  Use  no  finger 
action.  Nothing  Init  pure  arm  movement  is  necessary.  See  how  graceful  as  well  as  how  accurate  you  can  make 
them. 


Arrows  show  which  dirrection  to  make  the  principles.    All  are  same  in  hight.     Up  strokes  slant  more  than  down  strokes.     Count  1,2,3,  1,2,3. 

//  //  /  /////   /   /   /   / 
////////////// 


INSTRUCTIONS    FOR    PRACTICE. 


Make  the  up  strokes  more  freely  than  the  down  stroke;  also  make  them  more  slanting.  See  that  the  little 
finger  slips  freely  toward  the  right  in  making  the  up  strokes.  Do  not  shade  the  down  stroke  or  finish  the  up  strokes 
with  a  dot.  Raise  the  pen  while  in  motion,  in  making  the  up  strokes.  These  little  forms  are  the  elements  of  writing 
and  we  have  named  them  principles.  The  first  is  principle  3  (left  curve);  the  second,  principle  1  (straight  line); 
and  the  third,  principle  2(risiht  curve).   Remember  their  names. 

26 


Use  an  easy,  graceful,  gliding  motion  at  all  times.     Make  turns  rounding  and  angles  sharp.     Pure  arm  movement.     No  finger  action  necessary 
^"Z  ^^^7  ,-^  /^  ^^    ,--7  /^  iL^  ^^^  ^^  L^  Z--"  L^     ^^/^ 


/^  ^7^^^^7^--<? 


C^  L^  C^    C^^  L^ 

INSTRUCTIONS    FOR    PRACTICE 


These  are  principles  5,  4.  and  6.  or  upper  turn,  lower  turn,  and  double  turn.  If  you  can  make  them  freely  and 
well,  you  will  have  but  little  difficulty  in  making  most  of  the  letters  as  they  comprise  the  main  portion  of  a  majority 
of  them.  See  that  the  little  finger  slips  freely  toward  the  right  and  that  the  motion  comes  from  the  elbow  and  not 
from  the  fingers. 

Principle  5  is  made  on  this  time,  1.  2;  1,  2;  1,  2;  accent  on  the  2.  Principle  4  on  this  time,  1,  2;  1,  2;  1,  2;  accent 
on  the  1.    Principle  6  on  this  time,  1,  2,  3;  1,  2,  3;  1,  2,  3;  equal  emphasis.     Make  about  75  to  the  minute. 


Vie  n  contains  one  angle  and  three  turns.     Vie  wide  spacing  develops  a  free  movement  across  the  page.     Push  on  the  up  strokes. 


x7/ny  /-ny 


FORM    STUDY. 

The  n  is  composed  of  principles  5  and  6.  The  common  faults  are  found  beneath  the 
correct  forms.  The  first  resembles  u.  The  second  might  be  mistaken  for  re  because  it  con- 
tains two  angles  instead  of  one,  and  two  turns  instead  of  three.  The  third  resembles  an  r 
because  the  last  part  looks  like  a  flourish,  and  is  on  a  different  slant  than  the  first. 

INSTRUCTIONS  FOR  PRACTICE. 

Keep  the  down  strokes  parallel  and  all  turns  equally  rounding.  The  tendency  is  to  sharpen  the  second  upper  turn 
and  to  make  the  last  one  too  rounding.  Avoid  these  if  you  would  write  unmistakably  plain  at  all  times.  Avoid 
spasmodic  motions  by  cultivating  a  strong,  steady,  free  arm  movement.  Wide  spacing  is  good  to  discourage  finger 
action  by  making  it  possible  and  easier  to  use  arm  movement  instead.  The  oval  thrown  freely  around  the  last  n  with 
pure  arm  movement  insures  perfect  freedom  from  start  to  finish.  Be  sure  to  make  it  graceful  by  using  a  graceful 
motion. 


Make  all  turns  equally  rounding  and  all  angles  equally  sharp.     Connect  the  exercises  gracefully  by  using  a  graceful  arm  motjemem. 


INSTRUCTIONS  FOR  PRACTICE. 

The  sooner  you  give  up  dragging  the  pen  sluggishly  with  a  heavy,  lazy-like  motion,  the  better  for  you  and  your 
writing.  The  sooner  you  abandon  all  finger  and  wrist  movement  on  such  forms  and  exercises  as  the  above,  the  better 
for  you  and  your  penmanship.  You  cannot  serve  two  masters  successfully.  Therefore  strike  out  boldly,  and  keep 
striking,  and  success  will  follow.  Keep  a  good  position  of  body,  arm.  hand,  and  paper.  Do  not  let  palm  of  hand  rest 
on  paper.    Keep  elbow  just  off  the  edge  of  the  table.    See  illustrations. 


27 


<=X^^c5^/i- /^y//  ^?Mrrr^Mr^^/9M///rr/^/ J/ rz/^y? //'//// y/</.  ^^X=^ 


The  m  contains  two  angles  and  and  Jour  turns.     See  that  the  little  finger  as  well  as  the  pen  jogs  gently  toward  the  right  and  across  the  page. 


FORM   STUDY. 
The  m  is  composed  of  principles  5,  5.  and  G.     It  has  seven  strokes,  three  short  and 
four  long  ones.  The  first  improperly  formed  m  is  too  angular  and  irreRular  in  spacing; 
The  second  resembles  nc,  and  the  third  loolis  like  rn  because  of  irregular  slant  of  the 
down  strokes. 


INSTRUCTIONS  FOR  PRACTICE. 


Push  in  making 

the  sleeve'  needs 


Aim  to  use  pure  arm  movement  on  this  form  and  to  secure  uniform  slant  in  the  down  strokes, 
the  long  up  strokes  and  swing  gracefully  from  one  blue  line  to  the  other.     To  do  this  successfully, 
to  be  loose  at  the  elbow  so  as  to  allow  the  arm  to  act  freely  within  It.    The  arm  should  not  slip  on  the  table,  but  act 
upon  and  within  the  bunch  of  muscle  just  forward  of  the  elbow. 


Time.  1 .  2,  3.  simnging  1 .  2.  3.     About  40  m's  a  minute.     Time,  1 ,  2 


circle.    About  25  m's  a  minute. 


INSTRUCTIONS  FOR  PRACTICE. 

Sit  quite  erect  to  make  exercises.  It  enables  you  to  see  the  form  and  it  loosens  the  movement.  Accuracy  at  this 
stage  of  progress  is  not  as  essential  as  freedom,  and  as  gracefulness  in  form  and  motion.  There  is  but  one  safe,  sure, 
successful  way.  and  that  is  through  a  graceful  arm  movement.  Begin  aright  and  you  will  end  right,  because  once  on 
the  right  road,  the  traveling  will  be  delightful. 


a 


Use  a  rolling,  circular  arm  movement  on  the  capital,  and  a  gliding,  fore-arm  action  in  the  small  letters. 


CL 


INSTRUCTIONS  FOR  PRACTICE. 

The  change  from  capitals  to  small  letters  and  from  small  letters  to  capitals  is  at  first  somewhat  difficult,  as  it 
involves  changing  from  oval  to  gliding  motions  and  back  again  to  ovals,  but  a  little  practice  will  soon  overcome  the 
difficulty.     Spacing  between  the  small  letters  is  much  wider  than  in  them.    Keep  the  spacing  in  letters  normal. 


28 


<^=<^^^^^^^^^^^^^^^2/i2^^^ 


//>;r/^/vv^3^^x=^ 


Watch  turns  and  angles  closely  in  the  word  Annum.     Keep  spacing  wide  between  the  letters.     Use  a  free',  easy  arm  mouement. 


INSTRUCTIONS  FOR  PRACTICE. 

A  light,  fine,  smooth  line  is  desirable,  and  unless  you  have  it,  your  movement  is  not  what  it  should  be.  Make  the 
capital  A  with  a  light,  easy,  forceful  swing  of  the  hand  and  arm,  watching  critically  the  slant  of  oval,  width  of  same, 
retrace,  and  finish.    Be  careful  but  not  slow  or  sluggish.   Watch  spacing  between  letters  and  keep  it  uniform. 


77;?  tracer  is  good  to  develop  sureness. 


Make  it  briskly  without  the  aid  of  the  fingers, 


Make  about  25  retraced  ovals  in  a  minute. 


INSTRUCTIONS  FOR  PRACTICE. 

In  making  the  A  tracer,  endeavor  to  keep  the  lines  close  together,  and  retrace  each  form  about  six  times.  Time, 
1,  2,  1,  2,  1,  2;  1  for  the  first  down  stroke  and  2  for  the  second.  The  motion  should  be  free  from  jerks,  regular,  free, 
and  fairly  rapid.  The  retrace  oval  should  be  made  a  trifle  faster  than  the  A  tracer,  and  the  spacing  uniform.  About 
200  down  strokes  to  the  minute  makes  a  lively  action,  but  not  too  lively  if  well  modulated. 


Place  the  pen  quickly  and  finnly  upon  the  paper  and  then  make  the  C  with  a  strong,  free,  circular  arm  movement. 


FORM    STUDY. 

The  C  is  composed  of  principle  9.  It  begins  and  ends  the  same  as  the  small  letter  c,  but  has 
a  more  rounding  back  and  a  shorter  finish.  The  second  form  lacks  rotundity  and  sufficient  hook 
at  the  top. 

INSTRUCTIONS  FOR   PRACTICE. 

Place  the  pen  firmly  and  quickly  on  the  paper,  and  give  the  hand  and  pen  a  free,  forceful  whirl  to  the  left  and 
downward,  to  make  a  good  C.  Almost  strike  the  paper  to  create  a  decided  dot  in  beginning  the  letter,  and  make  at 
least  GO  to  the  minute.  Do  not  grip  or  pinch  the  holder,  yet  hold  it  firmly.  A  certain  tenseness  of  grasp  and  of  muscle 
is  necessary  for  a  good  quality  of  motion.    Cramptness  is  one  extreme  and  looseness  is  the  other.    Avoid  both. 


Pause  slightly  at  the  beginning  of  each  C.     Use  a  free,  forceful,  rolling,  ajiu  movement.     Make  about  75  in  a  minute. 


INSTRUCTIONS  FOR   PRACTICE, 

Emphasize  the  dot  of  each  letter,  and  if  you  prefer  a  small  loop  instead  of  the  dot,  there  is  no  reason  why  you 
should  not  be  allowed  to  adopt  and  use  it.  But  make  it  an  unmistakable  C,  and  make  it  freely.  Excellence  docs  not 
come  at  the  first  bidding.  Like  a  fair  maiden,  a  .good  hanihvriting  must  be  wooed  and  won  by  persistent,  faithful 
effort.    Once  won,  like  a  good  wife,  it  is  a  serviceable,  life  companion. 


29 


<^:>^^/^^&z/M<^ve^ne^n/^J//r//^'^r^/^/9//'-ff'^^^^^ 


,^ 


A  good  posilion  is  necessary  for  good  heahh  and  a  good  hand  writing.     Space  should  be  uniform. 


INSTRUCTIONS  FOR  PRACTICE. 

Make  from  four  to  five  exercises  to  the  minute.  Keep  tiie  compound  curve  midway  between  the  blue  lines.  Swing 
leftward  with  considerable  force  but  not  without  grace.  Practice  each  exercise  by  itself,  filling  page  upon  page  of 
each.  It  is  a  good  exerci.se  to  practice  crosswise  on  the  paper  over  previous  practice.  In  this  way  paper  may  be  econ- 
omized, and,  what  is  still  more  important,  the  eye  and  hand  trained  to  write  straight  without  lines  to  write  upon. 


Tne  X  contains  two  turns  and  a  retrace.     Raise  pen  in  each  tetter. 
Finish  forms  below  with  a  sweeping  ann  movement. 


,^tL^ 


.FORM    STUDY. 

The  X  is  composed  of  principles  5  and  4,  made  close  together.  The  first  part  of  first  imperfect 
letter  is  too  slanting  and  the  second  part  too  curving.  The  last  form  resembles  v  because  the 
second  part  does  not  come  to  the  base  line.  Be  careful  to  retain  the  essential  characteristics 
of  each  letter. 

INSTRUCTIONS    FOR    PRACTICE. 

This  style  of  x  is  finished  "on  the  spot"  without  going  back  to  cross  it.  Think  of  principles  5  and  4  in  making  it, 
and  retrace  the  down  strokes  neatly.  If  desired,  the  letter  may  be  made  without  raising  the  pen  by  retracing  the 
first  down  stroke  the  same  as  in  the  small  letter  v.  Many  prefer  to  make  it  in  this  manner.  Choose  your  method,  and 
then  perfect  it.    Excellence  is  the  thing  desired  and  in  demand. 


Be  mindful  cf  com:  ■  j-^r.tion.     Watch  Si:uing  in  and  between  letters.     Use  a  free,  gliding  arm  movement. 


INSTRUCTIONS    FOR    PRACTICE. 

See  that  the  little  finger  glides  freely  from  letter  to  letter.    Be  careful  to  place  dot  of  I  above  the  letter  and  not  to 
the  right  of  it.    Finish  x  as  carefully  as  you  begin  m.    Keep  all  turns  equally  rounding  and  all  angles  equally  sharp. 

30 


See  how  gradually  you  can  approach  the  center  and  how  freely.     Use  a  free  rolling  arm  movement  in  the  E  tracer.     Study  form. 


INSTRUCTIONS    FOR    PRACTICE. 

This  diminishing  tracer  is  a  fine  exercise  to  assist  one  to  gain  control  over  the  movement.     It  overcomes  spas- 
modic action  and  cultivates  patience.    Make  the  E  tracer  with  an  easy,  rolling  arm  movement,  keeping  the  loop  small. 


Place  the  pen  firmly  upon  the  paper  and  two,  circular  impulses  will  make  the  E.  and  about  50  to  the  minute. 


FORM    STUDY. 

The  E  begins  and  ends  like  C.  The  loop  should  be  made  near  the  center.  The  second 
letter  looks  like  C  with  a  little  extra  twirl  in  the  beginning.  The  loop  in  the  last  form  is 
too  large. 

INSTRUCTIONS    FOR    PRACTICE. 

Keep  the  small  loop  near  the  center  and  pointing  downward.  Keep  the  motion  rolling  from  one  letter  to  the 
other,  and  hit  the  paper  quickly  with  the  pen  as  you  start  the  E..  Learn  to  be  quick  and  sure  and  your  writing  will 
be  in  demand.    Rapid  writing  is  a  valuable  acquisition. 


Write  the  word  without  raising  the  pen.     Begin  with  a  rolling  and  end  with  a  gliding  motion.     Write  1 5  words  a  minute. 


INSTRUCTIONS    FOR    PRACTICE. 

Start  the  E  freely  but  not  recklessly  or  you  will  have  difficulty  to  connect  successfully  to  the  n,  as  it  requires 
changing  from  a  rolling  to  a  gliding  motion.  Keep  all  turn.^  the  same  in  the  small  letters,  ami  maintain  wide  spacing 
between  the  letters.  Watchfulness  of  details  is  the  secret  of  superior  penmanship.  And  if  you  are  careful  of  details 
in  writing  you  will  be  careful  with  the  details  of  other  arts  and  acts. 


Make  the  compound  cuiue  with  a  graceful  motion.     Vie  tracer  should  be  made  quickly  without  little  finger  s.'ivvin^  reri'  much. 


rMmmmmmmm 

INSTRUCTIONS    FOR    PRACTICE. 

Do  not  raise  the  pen  until  each  exercise  is  completed.  Retrace  the  compact  exercises  with  care  so  as  to  secure 
uniform  spacing  and  color.  Much  time  can  be  spent  very  profitably  upon  these  exercises.  They  are  more  valuable 
than  they  appear.    Therefore  invest  in  them.     They  will  pay  handsome  dividends  later  on,  and  all  through  life. 


31 


<=>^^c//u^^/m/?/U2^e9ri£/n/9/^/^^^^^ 


The  r  contains  a  turn,  a  retrace,  and  a  finishing  loop.     Make  the  circle  wuii  a  quick,  Jree  movement,     tie  careful.     Be  persevering. 


FORM   STUDY. 

.The  r  is  composed  of  principles  5  and  1  and  a  finish  in  the  form  of  a  small  loop  and  a  lateral 
curve.     The  first  imperfect  letter  looks  lilve  v,  and  the  second  like  x.    Avoid  these  errors. 

INSTRUCTIONS    FOR    PRACTICE. 

Begin  the  r  like  n,  retrace  the  downward  stroke  carefully  with  the  upward,  and  finish  with  a 
small  loop  or  dot,  pausing  slightly  before   starting  toward   the   right.     A   little   finger   action   is 
allowable,  but  not  much  is  necessary  or  desirable.     Be  careful  to  retrace  all  of  the  way  up.    Circle  the  r  with  freedom 
and  caret  doing  so  gracefully. 


Make  the  long  connecting  lines  with  a  strong,  free  arm  movement.     Finish  the  r  with  care.     Swing  gracefully  from  one  line  to  the  other. 


INS Ti-.'JCTIONS    FOR    PRACTICE. 

It  is  said  that  "trifles  make  perfection"  and  that  "perfection  is  no  trifle."  Trifles  make  writing  good  or  bad,  and 
surely  good  writing  is  no  trifle.  Watch  the  little  things  and  ere  long  your  writing  will  be  a  glorious  success.  What 
a  good  recommendation  it  is  to  have  people  say  "how  well  you  write!" 


Make  about  200  down  strokes  to  the  minute  and  about  CO  O's. 


See  how  freely  and  easily  as  well  as  how  plainly  you  can  write. 


INSTRUCTIONS   FOR    PRACTICE. 

Enthusiasm  makes  things  easy.  If  you  are  interested  you  will  enjoy  the  writing  hour.  Writing  is  not  so  much 
talent  as  it  is  acquisition.  All  must  learn  it.  Some  learn  more  easily  than  others  because  they  are  more  interested 
and  ambitious.  Start  to  work  enthusiastically  upon  the  tracers  and  O's  and  see  how  easily  you  can  conquer  that  right 
arm  of  yours.    Success  to  you. 


Begin  with  a  straight  line  and  fnish  like  0.     Watch  spacing  between  letters.     Time,  1 .  2.  3;  1 .  2.  3;  1 ,  2,  3.    About  50  to  the  minute. 

32 


ajy^jys-jy^ 


FORM    STUDY. 

The  D  begins  with  principle  1  and  ends  lilie  O.     The  second  form  resembles  I   with  a 
little  flourish,  and  the  last  looks  like  L  with  a  large  flourish.    Keep  the  first  loop  small. 

INSTRUCTIONS    FOR    PRACTICE. 

Begin  the  letter  somewhat  deliberately    but   increase   the   motion   gradually   and    swing 
upward  and  finish  toward  the  right  with  considerable  momentum.     F'irst  stroke  may  be  short  or  long  as  you  prefer. 
Compare  the  D  with  the  O  and  make  it  in  much  the  same  manner  after  the  little  loop  has  been  formed.    Do  all  work 
carefully  ,even  though  you  do  it  freely.    Care  does  not  necessarily  mean  slow. 


Wrile  the  word  Dim  without  raising  the  pen.    Dot  i  and  finish  m  carefully.     Use  an  easy  arm  movement. 


INSTRUCTIONS    FOR    PRACTICE. 

Begin  the  word  with  principle  1  and  end  it  with  2.    Write  at  the  rate  of  about  18  or  20  words  a  minute.     Study 
your  practice  and  compare  it  with  the  copy. 


Begin  compact  end  of  exercise  more  rapidly  than  you  end  it.    Make  the  double-turn  exercise  with  an  easy,  graceful  steady  motion. 


INSTRUCTIONS    FOR    PRACTICE. 

This  exercise  cannot  be  executed  as  rapidly  as  the  one  that  is  sharp  at  the  top  or  bottom,  but  it  can  and  should 
be  executed  with  more  real  grace  than  either.  Let  ease  of  execution  be  your  motto  and  your  method,  and  graceful 
writing  will  follow  as  surely  as  day  follows  night. 


Pause  in  finishing  the  v.  but  do  not  raise  the  pen.     Write  the  vr  exercise  between  the  blue  lines,  after  the  v's  have  been  written. 


FORM    STUDY. 

The  V  is  composed  of  principle  G  and  a  finish  the  same  as  r.  It  contains  two  turns,  a  finish. 
and  three  strokes.  The  first  common  error  resembles  r,  the  second  o.  and  the  third  re.  Letters 
have  physiognomies  the  same  as  people.     Do  not  rob  them  of  an  ear,  an  eye,  or  a  nose. 

INSTRUCTIONS    FOR    PRACTICE. 

The  V  is  a  very  graceful  letter  when  made  correctly,  and  an  easy  letter  if  one  uses  an  easy, 
graceful,  arm  movement,  and  if  one  will  pause  gently  in  the  finishing.  Be  sure  to  have  a  turn  at  the  top  as  well  as 
at  the  bottom.  Avoid  a  jerky  motion  and  the  result  will  be  pleasing.  The  little  retrace  oval  thrown  around  the  v 
encourages  freedom  by  keeping  the  movement  loose  to  the  end. 

33 


Put  '■vim"  in  your  practice,  watchfulness  in  your  eye.  and  perseverance  in  your  effort  and  a  good  handwriting  will  folloui. 


INSTRUCTIONS    FOR    PRACTICE. 

Begin  the  word  with  an  upward  curve  and  turn  and  end  it  with  a  lower  turn  and  curve.  Finish  v  carefully  and 
place  dot  over  i,  not  to  the  right  of  it  as  is  a  common  tendency.  See  how  gracefully  you  can  swing  from  one  word  to 
another  beneath  it.    Watch  position  as  well  as  spacing. 


Secure  uniformity  in  height,  spacing  and  slant  without  sacrificing  either  freedom  or  arm  movement.     Persevere  and  you  will  win  a  good  handwriting. 


Practice,  practice,  practice;  study,  study,  study;  care,  care,  care,  are  the  price  one  must  pay  for  a  good  handwrit- 
ing. Money  cannot  buy  it,  neither  can  money  take  it  away.  It  is  an  accomplishment  all  admire  and  a  necessity  many 
business  men  demand,  as  evidenced  in  the  request  found  in  "want"  advertisements  and  elsewhere — "apply  in  own 
handwriting.  '  That  tells  the  tale,  and  your  hand  may  either  win  or  lose  you  a  good  position,  depending  upon  its 
excellence  or  poorness.    Better  resolve  now  to  write  well  and  you  will. 


Make  the  P  without  raising  the  pen.     Retrace  quickly  and  make  the  oval  with  a  free,  forceful,  swing.     Pause  may  be  made  at  bottom. 


FORM    STUDY. 

The  P  is  composed  of  principle  1,  retrace,  and  principle  9.  The  principles  are  modified 
in  size  and  direction.  The  second  form  is  too  narrow,  and  the  last  too  rounding  and  the 
finish  is  too  low. 

INSTRUCTIONS    FOR    PRACTICE. 

Review  the  copy  before  this  and  then  see  how  well  you  can  make  the  P.  Note  the  fact  that  the  second  part  of 
oval  slants  more  than  the  first  or  retrace  part.  Begin  with  an  in-and-out  motion  and  end  with  a  circular  one.  Make 
about  50  to  the  minute.    Time,  1,  2;  1,  2;  1,  2.    Count  1  for  the  first  part  and  2  for  the  oval. 


itudy  spacing.     See  how  P  ends  and  u  begins.     Down  strokes  in  smal'  letters  should  be  the  same  slant  as  the  capital.     Write  freely  at  all  times. 


INSTRUCTIONS    FOR    PRACTICE. 

See  that  first  stroke  of  u  is  parallel  with  last  stroke  of  P.  Keep  u  sharp  at  the  top  and  n  rounding.  Never  have 
them  appear  the  same  and  your  writing  will  at  least  be  legible.  There  is  too  much  illegible,  scrawling,  scribbling 
writing  in  the  world.  Resolve  that  there  shall  be  one  less  poor  penman  in  the  world  by  improving  your  penmanship.- 
If  you  are  a  teacher,  resolve  that  there  shall  be  many  less  by  teaching  writing  rationally  and  enthusiastically. 

<4 


Use  a  free,  lateral,  gliding  action  in  the  first  exercise,  and  a  gliding  and  circular  motion  in  the  second. 


INSTRUCTIONS    FOR    PRACTICE. 

Practice  these  exercises  crosswise  over  previous  practice.  Malie  a  downward  stroke,  in  the  first  exercise,  on  each 
blue  line  crossed;  and  in  the  second,  a  letter  on  each  crossline.  This  will  teach  yon  to  "hit  the  mark"  and  get  what 
you  go  after — a  good  handwriting. 


The  IV  is  a  u  uAth  a  finish  like  V.    Do  not  grip  the  holder.     Sit  erect.     Use  arm  movement.     Study  form.     Think  form. 


FORM    STUDY, 

The  w  is  composed  of  principles  2,  4,  and  4,  and  a  finish  as  v.  It  contains  two  angles. 
two  turns,  five  strokes,  and  a  finish.  See  that  your  letter  contains  the  same.  The  first 
common  fault  looks  like  io;  the  second,  like  an  angular  m;  and  the  third,  like  ue.  Write 
plainly   by  avoiding   these   errors. 

INSTRUCTIONS    FOR    PRACTICE,  * 

Pause  gently  in  finishing  the  w,  and  see  that  the  first  part  resembles  u.  The  w-u  exercise  aids  in  developing  the 
first  part,  and  the  w-v  exercise  aids  in  developing  the  finish.  Push  the  pen  rather  than  drag  it.  Remember  that  a 
good  handwriting  is  not  acquired  in  a  day.  nor  without  special  effort.  But  it  is  possible  to  all  who  are  worthy  of  it 
and  who  are  willing  to  pay  its  price  in  toil. 


If  you  would  "win"  a  good  hand  writing,  you  must  work  for  it.     TTie  copy  will  help  you. 


INSTRUCTIONS    FOR    PRACTICE. 

An  easy,  gliding,  free  movement  from  letter  to  letter  is  necessary  for  .good  writing  and  easy  writing.  The  little  finger 
need  not  slip  much  in  the  letter,  but  it  should  slip  freely  in  going  from  one  letter  to  another.  An  easy,  gliding  action 
of  the  little  finger  toward  the  right  while  writing  is,  in  itself,  a  guaranty  of  good  writing  nine  cases  out  of  ten.  There- 
fore get  it,  and  get  it  quick.    Circle  the  n  in  the  word  win  freely  and  easily. 


35 


Do  your  besi  each  time.     Master  movement  by  mastering  the  exercises.     Then  you  can  master  writing.     Use  a  rolling  motion  in  the  B  tracer. 


INSTRUCTIONS    FOR    PRACTICE. 

See  how  regular  in  height,  slant,  and  spacing  you  can  make   the   straight   line   exercise    without   the   aid   of   the 
Ingcrs,  and  at  the  rate  of  about  200  down  strokes  to  the  minute.     Practice  freely  and  free  writing  will  result. 


Make  the  B  without  raising  the  pen.     Retrace  carefully  but  quickly,  and  finish  with  a  rolling  motion,  stopping  with  the  pen  on  the  paper. 


FORM  STUDY.  > 

The  B  is  composed  of  the  P  with  an  ova!  added.  The  little  loop  should  point  upward, 
and  be  near  the  center  of  the  letter.  The  top  of  the  second  letter  is  too  small,  and  the 
loop  in  the  last  is  too  large. 

INSTRUCTIONS    FOR    PRACTICE. 

Use  a  quick,  light,  elastic  in-and-out  or  push-and-pull  movement  in  the  first  or  retrace  part  of  the  letter,  and  two 
reverse  oval  motions  in  the  second  part  of  the  B.  Keep  your  movement  under  the  control  of  the  will  by  thinking 
Intently  of  the  letter  as  you  are  about  to  make  it.  Be  quick  mentally  as  well  as  physically.  Think  good  writing  and 
you  will  soon  produce  good  writing. 


Write  halfway  across  page  without  raising  pen.     Vten  raise  the  pen  each  word  either  at  ending  or  base  of  first  part  of  B. 

INSTRUCTIONo    F' R    PRACTICE. 

Strive  to  write  with  considerable  force.  By  so  doing  you  will  develop  treedom  and  ease.  Slant  u  and  n  the  same 
as  the  first  part  of  B.  Keep  top  of  u  sharp  and  n  rounding.  Do  not  forget  about  position.  It  is  necessary  for  health 
as  well  as  penmanship. 


Use  a  free,  small,  rolling  motion.     Siring  gracefully  from  one  line  to  the  other,  using  no  finger  or  wrist  action. 


36 


INSTRUCTIONS    FOR    PRACTICE. 

Let  the  motion  be  a  lively  one  from  start  to  finish.  Keep  the  loops  full  by  using  a  circular  action.  The  little 
finger  needs  to  jog  toward  the  right  freely  and  easily.  It  is  best  to  let  the  little  finger  rest  on  the  flesh  rather  than 
on  the  nail,  and  to  use  a  blotter  to  let  it  slip  upon.  The  blotter  protects  the  paper  from  perspiration  and  oil  and  keeps 
the  finger  dry.    Hold  the  blotter  with  the  left  hand,  and  keep  it  about  an  inch  below  the  line  you  are  writing  upon. 


Always  loop  the  e  and  dot  the  i.     Form  and  freedom  should  go  hand  in  hand.     Keep  a  good  position.     Watch  spacing.     Be  systematic. 


FORM    STUDY. 

The  e  is  composed  of  principles  2  and  4  by  being  joined  at  the  top  by  a  curve  instead  of  an 
angle  as  in  I.  It  contains  one  loop,  one  turn,  and  three  strokes.  The  first  tendency  is  to  diminish 
or  omit  the  loop  and  it  then  resembles  i,  and  the  other  tendency  is  to  make  it  like  a  small  capital  E 
and  it  then  looks  like  r. 

INSTRUCTIONS    FOR    PRACTICE. 

The  loop  is  the  characteristic  of  the  e,  therefore  be  sure  to  make  it  full  enough  to  be  easily  recognized  from   i. 

Use  an  easy,  rolling  motion,  curving  the  up  stroke  more  than  the  down  stroke.  The  e  with  a  circle  around  it  makes 
a  pleasing  form  for  practice.  See  how  unlike  you  can  make  I  and  e  without  curving  the  back  of  the  e  or  making  the 
lower  turn  of  e  more  rounding  than  the  i. 


Pause  in  finishing  v  to  avoid  looping  it,  and  to  be  sure  to  loop  the  last  e.     Watch  the  turns. 


INSTRUCTIONS    FOR    PRACTICE. 

Finish  the  word  as  carefully  as  you  begin  it;  even  more  carefully.  Make  up  your  mind  to  end  right  whether  you 
begin  right  or  not.  Make  the  ellipse  about  the  word  with  a  quick,  easy  swing  of  the  hand  and  arm.  No  wrist  move- 
ment. See  that  the  entire  motion  centers  at  and  procedes  from  the  elbow.  Be  careful  to  not  loop  the  finish  of  v  or 
drop  to  the  base  line  with  it. 


The  diminishing  oval  exercise  aids  one  to  control  movement,  and  thereby  to  tvrite  a  large  or  small  hand.     Watch  your  position. 


37 


<=x^  C5^;  ^^H/?/l^rc,,u^,/9P^/£ 


y7w^n^^^^^=> 


INSTRUCTIONS    FOR    PRACTICE. 

See  that  the  arm  rolls  freely  upon  the  muscle  in  front  of  the  elbow  in  making  these  oval  forms.  Let  the 
motion  be  neither  hurried  nor  sluggish,  sure  but  not  stiff,  and  light  but  not  weak.  Ease  of  execution  is  the  key  to 
good  writing. 


Retrace  R  carefully  but  quickly,  and  finish  with  a  vertical  compound  curve.     Make  the  three  Rs  without  raising  the  pen.     Loop  should  be  small. 


FORM    STUDY. 

The  R  is  composed  of  the  P  with  a  vertical  compound  curve  added.  The  loop  should 
point  upward  and  be  near  the  center  of  the  letter.  The  second  R  resembles  K,  and  the 
last  one  is  top  heavy. 

INSTRUCTIONS    FOR    PRACTICE. 

Make  large  oval  of  R  cearly  horizontal  and  see  that  little  loop  points  upward.  The  letter  finishes  downward  and 
toward  the  right  the  same  as  A,  and  with  as  delicate  a  curve.  See  how  easily  they  may  be  joined.  Be  sure  to  drop 
to  base  line  with  finish  or  it  may  resemble  P  when  they  are  Joined. 


Use  an  easy,  gliding-toward-the-rigk  fore-arm  movement.     Spacing  is  wide  between  the  letters,  not  in  them. 


INSTRUCTIONS    FOR    PRACTICE. 

Runner  is  a  nice  word  to  practice.  Make  the  letters  small  and  the  spacing  between  them  wide.  Keep  the  down 
strokes  straight  and  the  same  in  slant.  The  r  used  at  the  end  of  the  word  shoujd  never  be  used  except  as  a  final  letter. 
Finish  the  capital  with  a  vertical  compound  curve  ending  toward  the  right. 


Maintain  a  good  position.     Keep  good  pens.     Watch  angle  of  paper.     Review  previous  exercises.     Use  arm  movement. 


INSTRUCTIONS    FOR    PRACTICE. 

These  exercises  are  good  to  develop  speed  and  control:  two  very  desirable  essentials  of  a  practical  handwriting. 
See  how  gradually  vou  can  merge  from  the  compact  to  the  open  exercise,  and  how  rapidly.  Alternate  the  oval  and 
straight  line  exercises.  After  working  faithfully  and  strenuously  upon  the  exercises  to  the  left,  begin  practicing 
somewhat  more  leisurely  upon  the  oiie  to  the  right,  swinging  with  a  lively  grace  from  exercise  to  exercise. 

38 


ZyA£C'&?^f///lrf  •cuij:n/v//r///rr/^y  /^r//^rr  //'/y//y//y     ~J^^ 


The  c  has  one  dot  and  one  turn.     Make  the  dot  firmly  and  finish  the  letter  fi-eely .     Do  not  raise  the  pen  in  joining  the  c. 

"l^  C^  c^  c^  iC^  ,c^  c^  c^^  i:>^  c^  ^c^    ^ 


FORM    STUDY. 

The  c  is  composed  of  principle  4  and  a  dot  and  turn  to  the  right  at  the  top.  The  first  Imperfect 
form  resembles  I  because  the  turn  and  dot  are  too  small,  and  the  second  looks  like  a  capital. 
Illegible  writing  is  due  to  these  common  tendencies  which,  therefore,  should  be  guarded  against. 

INSTRUCTIONS    FOR    PRACTICE. 

Place  the  pen  firmly  upon  the  paper  and  make  upper  turn  more  rounding  than  lower  turn.  Keep 
the  dot  strong  and  well  to  the  right  of  the  down  stroke.  Make  the  exercises  without  raising  the  pen,  and  use  a  free 
arm  movement  except  in  the  dot  where  a  slight  finger  Action  may  be  employed. 


Keep  each  letter  distinct  in  form  and  spacing.     Count,  i,  c,  e,  circle:  i.  c.  e,  circle,  making  about  twenty  a  minute. 


INSTRUCTIONS    FOR    PRACTICE. 

The  turns  on  the  base  line  should  all  be  the  same  in  both  words.  Begin  c  with  a  decided  dot  and  end  e  with  an 
unmistakable  loop.  The  letters  in  the  word  ice  each  contain  two  strokes,  and  two  of  them  contain  dots.  Swing  around 
easily  with  the  ellipse,  neither  sluggishly  nor  with  a  jerlv.  Remember  that  it  is  not  practice  alone  that  is  necessary 
to  learn  to  write  well,  but  study  and  practice  combined.     Intelligent  "practice  makes  perfect."  and  not  mere  practice. 


Pause  at  base  line  in  the  pointed  oval.     Make  down  stroke  nearly  straight.     Begin  Principle  1 1  ivith  a  dot  and  end  with  pen  resting  on  base  line. 


INSTRUCTIONS    FOR    PRACTICE. 

Are  you  sure  you  are  on  the  right  track?  Have  you  examined  carefully  the  form  each  time  you  began  work  upon 
a  new  one,  or  upon  one  not  mastered?  Have  you  observed  with  care  the  movement  you  are  using  to  discover 
whether  you  are  really  using  arm  movement  or  not?  Investigation  may  lead  you  to  discover  some  needful,  helpful 
things.  Try  it  anvhow;  It  can  do  no  harm  and  may  do  much  good.  Master  the  exercise  and  principle  given  before 
going  any  furthei,  as  the  form  is  found  in  a  number  of  letters  which  follow,  and  success  depends  upon  its  mastery. 


39 


Time  1 ,  2,  3,  4;  1,2,3,  4;  1,2,3,  4;  about  thirty  to  the  minute.     Join  the  letter  u/ith  a  free  and  easy  swinging  movement. 

FORM    STUDY. 

The  H  is  composed  of  principles  11,  3  and  1.  and  a  finish  like  O,  but  with  a  smaller 
loop.  Down  strolie  of  principle  11  is  straight  and  not  curved  as  in  the  second  form.  The 
last  form  is  narrow  and  reveals  a  cramped  movement. 

INSTRUCTIONS    FOR    PRACTICE. 

Finish  both  parts  of  H  on  the  base  line.  In  connecting  the  letters,  curve  the  long  upward  stroke  considerably. 
Keep  down  strokes  parallel  and  quite  straight.  The  second  part  should  curve  gracefully  to  the  right  at  the  top. 
Therefore  to  make  it,  start  it  with  a  leftward  swing  of  the  hand  and  arm. 


Make  all  downward  strokes  on  the  same  slant.     Give  equal  spacing  between  letters.     Finish  the  word  carefully  with  principle  3. 


Let  hand  rest  and  roll  or  rock  on  little  finger  in  making  these  little  ovals.     Connect  the  wide-space  forms  gracefully. 


!3&ii/'\-.»J</<;.i!?>*;..vf<<<f*  fs-w  -tr 


INSTRUCTIONS    FOR    PRACTICE. 

By  cultivating  a  circular  motion,  you  will  be  able  to  master  the  small  letters  o  and  a  quite  easily.  Circular  forms 
demand  circular  movements:  straight  forms,  straight  or  direct  movements.  Therefore  learn  to  change  successfully 
from  one  to  the  other  by  learning  to  modify,  shift  and  change  motion,  "now  this  way  and  now  that." 


Make  the  o  quickly  with  a  circular  movement,  closing  it  at  the  top,  and  curving  the  down  stroke  considerably, 
-t? C7 Z? ^' '^ '^ '^' 

O-'     C7^    6^ 


o-"   o-'  o-  a-'  a^  cr- 


40 


<=^<^c5^^^^^^vry//^y^/^/^^^/^/^/P//>^^y/^  ^y^x=> 


FORM    STUDY. 

The  o  is  composed  of  principles  o  and  2,  and  a  finish  as  in  w.  It  contains  an  ellipse  which 
should  always  l)e  closed.  The  rirst  imperfect  letter  is  too  narrow,  the  second  resembles  v,  and  the 
third  looks  like  a.     Therefore  avoid  these  errors  and  thereby  avoid  illegibility. 


INSTRUCTIONS    FOR    PRACTICE. 

Let  the  hand  circle  quickly  on  the  little  finger  rest,  in  making  the  o. 
rather  than  downward,  and  close  it  completely  at  the  top.  Avoid  dropping  with  the  finish, 
and  curve  the  first  stroke  as  much  as  the  second. 


Start  the  letter  leftward 
Keep  the  letter  rounding 


[fse  an  easy  arm  movement.     Go  direct  from  o  to  o  and  from  o  to  n.    Finish  each  word  watchfully. 


INSTRUCTIONS    FOR    PRACTICE. 

Now  and  then  you  may  feel  discouraged.  If  you  ilo,  remember  that  discouragement  reveals  desire  which  is  the 
motive  of  success.  Discouragement  is  but  a  failure,  for,  perhaps,  but  the  moment,  to  realize  one's  desires  or  hopes, 
but  perseverence  at  such  times  always  aids  in  realizing  the  desired  ends. 


Swing  gracefully,  freely,  and  forcefully  rightward  and  leftward  in  the  large  exercise,  curve  both  strokes  equally  in  all  forms. 


INSTRUCTIONS    FOR    PRACTICE, 

These  exercises  are  well  worth  considerable  time  and  patient,  light,  easy,  graceful,  elastic  practice.  They  will  do 
more  to  loosen  the  movement  and  to  give  it  buoyancy  than  any  other  one  thing.  Not  only  will  they  encourage  ease 
and  elegance  in  action,  but  control  as  well.  They  will  be  the  source  of  ease  in  writing  and  elegance,  if  you  but 
master  them. 


Begin  both  parts  of  K  the  same  as  H,  and  finish  the  letter  like  R.     Study  location  and  direction  of  small  loops. 


FORM    STUDY. 

The  K  ends  like  R  and  begins  with  principle  11.  The  upper  half  of  the  second  part 
is  principle  13  slightly  modified.  Principle  11  in  the  second  form  is  too  curving,  and  the 
beginning  of  the  second  part  does  not  point  to  the  right.  The  last  form  is  too  narrow 
and  hook-like  at  the  top. 


41 


<=X^  C^^  /2r/n ^.i?t'e?9iCT^/^///r/A^r/iy^^/)r^^^ 


INSTRUCTIONS    FOR    PRACTICE. 

Come  to  the  base  line  firmly  with  the  first  part  of  K,  ami  begin  the  second  part  with  a  free  and  easy  swing.   Begin 
and  end  second  part  with  curves  pointing  toward  the  right,  the  one  slightly  upward  and  the  other  downward. 


End  e  as  carefully  as  you  begin  K.    Dot  i  carefully  and  see  that  n  has  three  turns.     Use  arm  movement. 


INSTRUCTIONS    FOR    PRACTICE. 

End  e  as  you  begin  I.  Use  a  gliding  movement  in  the  small  letters.  In  joining  K  to  I,  check  the  movement  at 
base  of  K  so  as  to  make  the  turn  narrow  and  in  harmony  with  small  letter  turns.  Joining  capitals  and  small  letters 
as  in  the  second  part  of  copy  makes  a  fine  exercise  for  practice.  It  unifies  the  large  and  small  movements  and  there- 
by uniforms  the  writing. 


Vie  little  finger  need  not  glide  while  making  the  small  retrace  ovals.     It  should  glide  freely  in  fourth  principle  exercise. 


ooooaxzvaxzvcvoccx?ooooc? 


INSTRUCTIONS    FOR    PRACTICE. 

The  little  retrace  oval  exercises  train  the  hand  to  act  in  a  circular  manner  so  as  to  execute  well  such  letters  as 
o  and  a,  which  contain  ovals.  Practice  them  freely  and  carefully.  The  second  exercise  aids  one  to  make  straight  and 
curved  lines,  angles  and  turns  alternately.  Writing  is  made  up  largely  of  turns  and  angles,  straight  and  curved  lines; 
hence  the  need  of  learning  to  make  them  well. 


Notice  hoiv  slanting  the  oval  is  in  a.     Each  letter  should  contain  an  i  without  dot.     Make  circle  quickly  with  pure  arm  movement. 
^^!>^    c::^^   ^z>^   ^=2-^    iJ^-^   li^Z-^  ,^Z--^ 


<s^,-/    isz-^   i:^,^ 


FORM    STUDY. 


The  a  is  composed  of  principles  3.  2,  and  4.  It  contains  one  oval,  angle,  and  turn,  and  four 
strokes.  The  first  illegible  letter  resembles  u,  because  it  is  not  closed  at  the  top,  and  the  second 
looks  like  o  because  the  last  downv/ard  stroke  is  curved.  Letters  should  be  unlike  or  they 
become  doubtful. 

42 


INSTRUCTIONS    FOR    PRACTICE. 

Begin  the  a  toward  the  left  rather  than  either  upward  or  downward.  Curve  the  down  strolce  more  than  the  up- 
ward, and  slant  the  oval  more  than  the  o.  Close  the  a  carefully  at  the  top.  and  drop  to  the  base  line  with  a  straight 
strol^e  in  finishing  the  letter.  Be  careful  to  finish  the  letter  carefully  before  throwing  the  circle  about  it.  Study 
this  letter  critically,  as  the  first  part  is  different  than  any  we  have  had. 


Write  the  wura  freely  with  but  tiitle  finger  action  and  ivithout  raising  the  pen.     Learn  to  u/rite  straight  between  lines. 


INSTRUCTIONS    FOR    PRACTICE. 

Remember,  the  last  downward  stroke  in  a  should  be  a  straight  line.  The  two  turns  on  the  base  line  should  be 
the  same — "alike  as  two  peas."  About  twelve  of  these  words  can  be  written  in  a  minute.  That  is  to  say,  the  pen 
should  move  at  about  that  rate  of  speed  when  on  the  paper.  Of  0oiirse  it  would  be  the  height  of  folly  to  write 
twelve  words  each  minute,  as  that  would  leave  no  time  for  thoughtful  criticism,  careful  observation,  and  determina- 
tion as  to  what  to  do  to  improve.  %  ■  ^  '' 

^   :^. 7^ 

See  that  ann  ttmrks  freely  at  elbow.     Make  150  down  strokes  a  minute.     Pause  bet)veen  lines  to  examine  and  criticise  your  work. 


7^ 


INSTRUCTIONS    FOR    PRACTICE. 

See  how  rounding  on  top  and  sharp  at  the  base  you  can  make  these  exercises.  Diminish  the  second  form  grad- 
ually, maintaining  uniform  spacing  throughout.  The  smaller  the  form,  the  more  strokes  can  be  made  in  a  given 
time,  though  the  pen  will  travel  less  rapidly.     Try  to  equal  or  excel  the  copy. 


Sit  erect.     Use  arm  movement.     Retrace  first  part  of  letter  half  the  height.     Make  40  to  the  minute. 


Time.  1.  2:  1.  2:  1.  2. 


FORM   STUDY. 

The  N  is  composed  of  principles  11  and  .5,  the  latter  being  modified.    The  second  letter  lacks 
individuality,  and  the  last  has  a  mistaken  identity  as  it  resembles  h.  What  ooes  yours  look  like? 

INSTRUCTIONS    FOR    PRACTICE. 

Use  a  quick,  firm,  free  movement,  mainly  in-andout,  and  reverse  the  motion  quickly  at  the 
bottom  without  pausing,  retracing  at  least  half-way  to  the  top.  Join  the  letter  into  groups  of  three,  making  each 
without  raising  the  pen,  or  without  checking  the  motion  to  any  great  extent  at  any  one  place.  Make  at  the  rate  of 
about  one  a  second  when  joining  in  this  manner. 


43 


Use  a  free,  gliding,  fore-arm  or  hinge-like  movement  in  this  sentence,  beginning  and  ending  each  word  gracefully. 


INSTRUCTIONS    FOR    PRACTICE. 

The  running  lianii  has  long  since  been  a  favorite  style  among  penmen  for  corresponilence  purposes  because  of 

its  ease  in  execution,  reducing,  as  it  does,  effort  to  the  minimum  by  its  short  downward  strokes.  By  its  long,  slender, 

and  graceful  upward  curves,  it  easily  becomes  "a  thing  of  beauty"    and,    to   the   one   possessing  it,    "a   joy    forever." 
Possess  it  and  you,  too,  will  be  happy. 


Watch  closely  turn  and  angle,  straight  and  curved  lines  in  these  exercises.     Do  not  use  the  fingers.     Maintain  uniform  slant. 

L^  L^  l^  < 


Study  vertical  stroke  in  r.     Pause  at  the  shoulder  of  the  letter.     Finish  like  i.     Make  circle  with  rapid  arm  movement. 


FORM    STUDY. 

The  r  is  composed  of  principles  2  and  4  with  a  short,  nearly  vertical,  connecting  line.  It 
contains  one  acute  and  one  obtuse  angle,  one  turn,  and  four  strokes.  The  first  defective  letter 
resembles  t  or  i,  and  the  second  looks  like  one  style  of  e. 

INSTRUCTIONS    FOR    PRACTICE. 

Be  sure  you  have  a  clear  percept  of  the  letter  r  before  attempting  to  make  it.  Then  use 
precisely  the  same  movement  as  in  such  letters  as  I  except  that  you  pause  at  the  shoulder  of  the  letter.  Without 
this  pause,  you  are  apt  to  sharpen  the  shoulder  too  much,  or  to  fail  to  make  it  at  all  or  to  make  it  well.  Therefore 
study  it  critically  and  then  make  it  carefully.  Thus  practiced,  it  may  be  quite  easy  and  beautiful.  It  is  usually  made 
a  litUe  higher  than  the  other  short,  small  letters.  In  circling  the  r,  the  pause  at  the  shoulder  or  obtuse  angle  will 
need  to  be  still  more  pronounced  than  in  the  letter  as  usually  made. 


See  how  easily  the  little  finger  can  jog  to  the  right  in  the  word  '  'runner. ' '     Finish  the  word  as  carefully  as  you  begin  it. 


44 


INSTRUCTIONS    FOR    PRACTICE. 

This  is  another  nice  word  to  practice.     See  how  easily  the  pen  can  be  taught  to  "run"  right  along  toward  the 
right,  pausing  only  to  form  the  shoulder  of  the  r  nicely.    Watch  position.    Study  and  heed  headline  of  each  copy. 


Make  these  tall  m's  at  the  rate  of  one  a  second.     Pure  arm  movement.     No  finger  action.     Diminish  the  exercise  gradually. 


INSTRUCTIONS    FOR    PRACTICE. 

Drive  the  arm  rapidly,  elastically.  and  forcefully  in-and-out  the  sleeve  to  make  the  tall,  small  m  e.xercise,  making 
seven  without  checking  the  motion  or  raising  the  pen.  See  how  rounding  you  can  make  the  turns  and  how  sharp 
and  retracing  the  angles.  Diminish  the  second  exercise  very  gradually,  toning  and  training  thereby  the  movement 
so  that  capitals  and  small  letters  may  be  made  at  will  equally  well. 


Time  1 .  2.  3:  1 .  2.  3;  1 .  2.  3.    One  count  for  each  down  stroke.   About  35  a  minute.   Join  the  M's  gracefully.    Drive  arm  in  and  out  sleeve. 


FORM    STUDY. 

The  M  is  composed  of  principles  11,  5,  and  5.  Principle  5  is  modified  by  being  made 
taller.  Avoid  looping  as  in  the  second  form,  and  the  last  looks  as  though  it  were  scared 
or  had  its  back  broken.     Which? 

INSTRUCTIONS    FOR    PRACTICE. 

Reverse  the  motion  quickly  at  the  base  and  retrace  as  far  toward  the  top  as  you  can. .  Avoid  loops  or  turns  at  the 
base  and  angles  at  the  top.  Begin  and  end  as  in  K  and  N.  Use  pure  arm  movement  and  do  not  raise  the  pen  in  the 
letter.    Join  three  M's  without  raising  the  pen  or  checking  the  motion. 


Move  on  and  move  freely  is  a  good  motto  in  learning  to  write  well.     Finish  v  carefully,  close  the  o,  and  loop  the  e. 


INSTRUCTIONS    FOR    PRACTICE. 

Make  the  connecting  strokes  with  a  free  swing  of  the  forearm,  the  elbow  serving  as  the  center  of  pivot.  No 
finger  action  to  speak  of  's  necessary  or  advisable,  and  no  wrist  movement  is  required  under  ordinary  circumstances. 
Shift  the  elbow  between  \%ords  when  the  movement  of  the  fore-arm  becomes  cramped  at  the  elbow. 

45 


Make  ovals  lively  with  pure  arm  movement.     Use  rocking  action  in  the  s-like  exercise.     Get  power  from  and  above  elbow. 


INSTRUCTIONS    FOR    PRACTICE. 

The  various  exercises  given  above  are  somewhat  unlike  those  given  heretofore.  They  require  more  of  the 
lateral,  circular  motion,  and  more  of  the  rocking  or  under-action  as  in  the  exercises  to  the  right.  Let  the  hand  and 
pen  swing  and  rock  freely  to  and  fro  in  the  last  form  given.  And  in  the  s-like  character,  start  with  the  rocking 
action  and  end  with  the  lateral,  oval  movement. 


^<^ 


Curve  the  down  stroke  more  than  the  up  stroke.     Make  it  with  a  swing  so  as  to  dose  it.     Pause  in  finishing.^ 
<^     -^   ^^  .^^   ^^. 


&y&y^^^ 


-^ 


FORM   STUDY. 

The  s  is  composed  of  principles  2  and  2,  the  latter  being  modified  by  making  it  downward  and 
curving  it  more.  The  first  common  fault  looks  like  the  uncrossed  t,  and  the  last  resembles  r. 
Curve  the  downward  stroke  well  and  close  the  letter  at  the  base. 

INSTRUCTIONS    FOR    PRACTICE. 

Use  a  quick,  lateral,  rocking-like  movement,  curving  the  down  stroke  much  more  than  the  up- 
ward, and  finishing  with  a  dot  if  desired^ .  The  s,  when  made  freely  with  the  arm  movement  well  under  control,  is 
one  of  the  most  graceful  of  letters,  and  one  of  the  most  quickly  made.    Study  it  closely  and  then  practice  it  faithfully. 


Write  the  word  freely  and  ivithout  raising  the  pen.     Curve  doivn  stroke  in  s.  make  u  shaip.  and  n  rounding. 


Pause  at  the  shoulder  of  r  and  bottom  of  s.     Do  not  pause  at  top.     Make  circle  with  a  free  swing  but  carefully. 


^, 


y 


46 


Linle  fnger  may  rest  in  making  figures.     Make  them  quickly.     Be  sure  to  make  them  unmistakable.     About  75  a  minute. 

////////////  z/z/A^//- // W  V  ^LL(s>L>L>Llj?£^^i^c^^^ 

////////////     L^L/LL/L/.L^l^l^/-^      C,{oLloir>lo^^      ^^^^'^^ 

INSTRUCTIONS    FOR    PRACTICE. 

Make  1  with  a  firm  though  quick  action  of  the  hand  and  forearm.  The  little  finger  may  rest  in  making  figures, 
though  it  should  slip  from  figure  to  figure.  Make  second  part  of  4  a  trifle  higher  than  first  part.  Begin  6  with  principle 
1  and  end  it  with  a  quick,  small  oval.  The  9  begins  like  a  and  ends  below  line  like  an  abbreviated  g.  Neatness  and 
plainness  are  two  very  important  essentials  in  figure  making. 


Neatness,  plainness,  and  quickness  are  essential.    The  7  extends  below  line.    The  2  and  3  begin  alike,  and  5  ends  like  3.    Study  as  well  as  practice. 


777777777 
777 7  777  77 
777777777 


2  12-ZX2-2.2- 
2  IX  ZZ  XI z 
2.  Z  ZZZ  Z  Z  2 


33  3  3  3  3  33 
3  3  3  3  3 3  3  3 
3  3  3  3333 3 


INSTRUCTIONS    FOR    PRACTICE, 


The  7  begins  with  a  small  dot  and  is  composed  of  one  horizontal  and  one  slanting  straight  line.  2  begins  the 
same  as  7  and  ends  the  same  as  an  inverted  7.  3  begins  the  same  as  2  and  is  composed  of  two  small  ovals.  5  begins 
with  a  short,  slanting  straight  line  and  ends  like  3.  -The  horizontal  straight  line  is  made  last.  Make  all  the  figures 
quickly,  firmly,  and  plain.    The  7  extends  below  the  line  the  same  as  9. 


Grouped  according  to  similarity.     Watch  spacing  in  as  well  as  between  letters.     Retrace  r  and  finish  w  carefully. 


Use  a  quick,  twist-like  motion  in  this  double  loop  exercise.     The  8  is  an  inverted  S.    Make  up  stroke  nearly  straight. 

INSTRUCTIONS    FOR    PRACTICE. 


Curve  the  down  stroke  of  8  considerably.    Count,  1,  2;  1,  2; 
extend  above  the  other  figures,  and  the  7  and  9  extend  below, 
injunctions  in  figure  making. 

47 


1,  2.     JIake  about  60  to  the  minute.     The  4,  6,  and  8 
Be  neat,  be  plain,  be  quick,  are  the  three  cardinal 


First  practice  the  figures  according  to  similarity:  then  in  their  natural  order.     Make  one  figure  directly  beneath  another  in  vertical  columns. 

/  ^^  f  y  2-3^^/^^^y2-3S'y/2-3  ^.s  ^y  yy  /  2.3  ^^iy  ^y 
/  ^  L  ^  y  z  3sy/^^'fyz3~s^  /  z  3  ^  s  (^  7  8^y  /  z  s  ^/^  Cyh^^ 
/^C>yji^^?^/iy^L^y23s^/Z3^^(:>y  Sr^y  /  z  3^5  C  y  yy 

INSTRUCTIONS    FOR    PRACTICE. 

Make  each  figure  distinct  and  unmistakable.  Figures  are  unrelated  as  are  letters,  and  they  must  therefore  stand 
alone.  Each  is  complete  in  itself.  They  are  therefore  more  important  than  individual  letters,  and  unless  they  are 
unmistakable,  serious  trouble  may  arise,  as  they  are  the  representatives  sometimes  of  large  values.  One  figure  some- 
times means  fortunes.    How  essential  then  that  all  should  make  figures  unmistakably  plain. 


Note  similarity  of  letters.     Use  a  free,  arm  movement  in  all.     Watch  size,  slant,  ana  spacing.     Learn  to  be  sure. 

INSTRUCTIONS    FOR    PRACTICE. 

This  is  a  review  of  all  capital  letters  thus  far  given.  You  will  doubtless  discover  that  it  is  more  difficult  to  make 
them  one  after  the  other,  than  to  repeat  the  same  letter  as  in  the  usual  practice.  The  reason  that  they  are  more  diffi- 
cult is  that  the  motion  or  movement  must  change  to  suit  the  form  and  construction  of  the  different  letters.  Practice 
and  perseverence  will  win,  however,  and  a  good  handwriting  follow.     Success  awaits  the  plucky. 


48 


PART    SIX    OR    BOOK    SIX 

Comprises  movement  exercises,  principles,  thirteen  small  letters,  fourteen  capitals,  figures,  signs,  words,  and  sen- 
tences; all  graded  and  arranged  to  facilitate  the  learning  of  a  practical,  graceful,  easy,  rapid  hand,  with  specific  in- 
structions accompanying  each  copy,  including  a  modern,  simple,  system  of  descriptive  analysis. 

Part  Six  or  Book  Six  should  not  be  attempted  or  practiced  until  after  Part  Six  or  Book  Six  has  been  practiced 
carefully  from  beginning  to  end.  as  the  letters  therein  are  easier  than  the  ones  found  in  this,  and  lead  to  the  ones 
contained  herein  and  make  them  easier. 

Every  third  copy  is  intended  to  be  written  crosswise  on  the  paper  over  practice  of  previous  copies,  thereby  utiliz- 
ing paper  and  at  the  same  time  learning  to  write  in  a  straight  line  without  a  guide  other  than  the  eye. 

Letters  are  given  in  groups  according  to  similarity,  the  easiest  ones  being  given  first,  each  leading  to  something 
more  and  more  difficult,  thus  putting  into  practice  and  realizing  the  true  worth  of  the  old  educational  maxim:   "from 

the  simple  to  the  complex." 

Form  and  movement,  for  the  first  time,  have  been  presented  upon  a  par;  neither  having  been  sacrificed,  but  both 
made  ready  servants  from  the  start  in  the  art  of  learning  to  write  well. 

Capital  and  small  letters  are  presented  alternately,  each  to  the  benefit  of  the  other;  the  capitals  to  make  the 
small  letters  free,  and  the  small  letters  to  make  the  capitals  less  scrawling. 

Movement  has  been  inseparably  connected  with  form,  and  not  divorced  from  it  as  has  heretofore  too  frequently 
been  the  case.  Learning  correctly  from  the  beginning  is  here  made  so  easy  and  plain  that  no  one  need  fail  to  acquire 
a  good  handwriting,  as  theory  and  practice,  science  and  art.  form  and  movement  have  been  so  combined  that  the 
road  to  good  writing  is  as  plain  as  the  proverbial  "road  to  market." 


Let  ami  rest  and  act  freely  upon  muscle  in  front  of  elbow.     Keep  spacing  uniform  by  watching  doum  strokes  only. 


INSTRUCTIONS    FOR    PRACTICE. 

The  arm  movement  is  the  foundation  of  easy,  graceful  writing.  The  oval  exercise  with  its  various  modifica- 
tions is  the  best  form  by  which  to  train  the  muscles  of  the  arm  to  act  in  unison.  It  should  therefore  be  practiced  until 
it  can  be  made  quite  perfectly,  and  then  reviewed  frequently.  Make  about  200  downward  strokes  to  the  minute, 
\ising  nothing  but  pure  arm  movement. 


Make  each  exercise  without  raising  ihe  pen  or  checking  the  rr.oi'on  at  the  rate  of  about  1 50  down  strokes  a  minute 


INSTRUCTIONS    FOR    PRACTICE. 

Jse  a  semi-rolling,  somewhat  diagonal,  in-and-out  action  of  the  tore-arm  in  making  these  exercises.  Keep  the 
fingers  from  contracting  and  expanding.  Watching  the  thumb  joint  will  disclose  whether  you  are  using  the  fingers 
or  not.    Ease  of  execution  should  be  your  aim.  as  that  insures  graceful  lines  and  therefore  graceful  writing. 

49 


Use  a  graceful,  forceful,  regular  movement  in  this  exercise,     pause  slightly  in  finishing  the  V.     About  75  a  minute. 


INSTRUCTIONS    FOR    PRACTICE. 

This  double-turn  or  compound-curve  form  is  the  best  exercise  to  encourage  a  graceful,  non-spasmodic  movement. 
You  will  therefore  do  well  to  practice  it  enthusiastically  with  a  light,  elastic,  uniform  arm  movement.  The  tall  v 
exercise  is  also  a  graceful  form  and  deserves  your  faithful  effort. 


Use  a  springy,  quick,  graceful  motion,  and  finish  carefully.     Begin  exercise  with  capital  and  end  ivith  small  v.     Be  watchful  of  position. 


l/}3lo 


FORM    STUDY. 

The  V  is  composed  of  principles  12  and  2  with  a  finish  like  the  small  v. 
lacks  stability,  and  the  last  one  looks  like  U.    Finish  each  letter  carefully. 


The  second  form 


INSTRUCTIONS    FOR    PRACTICE. 

If  you  have  mastered  the  previous  exercises,  the  letter  V  and  the  V  exercises  will  be  a 
delight  to  make.  If  you  have  not  practiced  the  former  exercises  sufficiently,  you  will  be  handicapped  until  you  do  give 
luoveinent  its  share  of  attention,  as  it  is  through  orderly  action  that  good  forms  are  possible.  Remember  that  forms 
are  but  pictures  of  motions. 


The  V  should  have  a  rounding  turn  at  the  top  and  bottom.     Dot  i's  and  finish  both  v's  carefully.     Use  a  free  movement. 


2^. 


2^ 


2^ 


^t 


INSTRUCTIONS    FOR    PRACTICE. 

Use  an  easy-like,  graceful  movement  in  making  the  V  if  you  wish  it  to  be  graceful.  Rightly  made,  the  V  is  one 
of  the  most  graceful  of  letters.  Watch  spacing  between  letters  to  see  that  it  is  uniform,  and  wider  than  in  the  letters. 
Each  V  should  contain  two  turns  and  a  finish  pointing  toward  the  right. 


Drive  arm  rapidly  in  and  out  the  sleeve  to  make  retrace  exercise.     Retrace  upper  half  of  diminishing  exercise;  turns  at  bottom. 


INSTRUCTIONS    FOR    PRACTICE. 

These  exercises  are  necessary  for  two  purposes;  to  aid  in  establishing  a  uniform  slant,  and  to  cultivate  enough 
up-and-down  action  to  enable  one  to  make  with  ease  and  proficiency  the  tall  small  letters,  such  as  t  and  I.  iWaster  the 
copy,  therefore,  if  you  would  write  all  of  the  small  letters  well. 

50 


<=^<^  rt^^x^r/^i/?/l€'i'€y^un/^/lr//^'^d^^^^^^  ^^>^=^ 


MODEL    PRACTICE. 

This  illustration  shows  how  every  third  copy  may  he  written  across  former  practice,  thereby  economizing  paper 
and  training  the  eye  and  hand  to  write  in  a  straight  line  and  to  space  uniformly  between  lines.  This  plate  shows 
actual  practice.  What  others  have  done  can  be  done  again,  and  you  can  do  as  well  or  better  by  proper  effort.  See 
how  systematically  you  can  fill  your  pages!     Nothing  so  encourages  improvement  as  systematic  practice. 


Begin  and  end  like  i.     Never  loop  t.     Cross  it  carefully.     Check  motion  in  foi-ming  turn  at  base.     Retrace  top  carefully. 


/— 


FORM    STUDY. 


The  t  is  composed  of  principles  ; 
retrace,  turn,  and  cross,  also  an  i. 
placing  the   cross   after   instead   of 


.  1,  and  4.  and  a  horizontal  straight  line.  It  contains  one  angle, 
The  first  error  is  in  looping  the  letter,  and  the  second  in 
across  the  letter. 


INSTRUCTIONS    FOR    PRACTICE. 

Make  the  t  without  raising  the  pen  except  to  cross  it.  A  little  finger  action  is  an  advantage 
in  this  letter,  but  the  primary  or  chief  movement  is  that  of  the  arm.  A  slight  pause  at  the  top  before  starting  the 
downward  retrace  will  aid  in  retracing  successfully,  and  a  slight  check  in  the  action  is  necessary  as  you  near  the  base 
line  to  aid  in  forming  a  short  turn  such  as  in  I  and  u,  and  other  similar  small-letter  turns. 


51 


jlant  should  be  unifonn.    All  turns  on  base  line  should  be  the  same.    Flourish  is  added  to  encourage  freedom  i:i  ending  as  well  in  beginnm;;. 


INSTRUCTIONS    FOR    PRACTICE. 

Keep  all  down  strokes  nearly  straight  and  the  same  in  slant.  See  that  the  little  finger  slips  freely  toward  the 
riKlit  ironi  letter  to  letter.  This  lateral  movement  should  be  firm  as  well  as  free.  Strength  is  one  of  the  distin- 
guishing qualities  between  mature  or  business  writing  and  the  immature,  school-boy  hand.  Cultivate  strength  and 
thereby  acquire  a  business-like  style  of  penmanship. 


Drive  arm  quickly  in  and  out  the  sleeve  with  a  springy  motion.     Finish  letter  with  a  pause.     Use  graceful  movement  in  compound  curve  exercise. 


INSTRUCTIONS    FOR    PRACTICE. 

This  tall,  small  w  exercise  needs  to  be  made  with  more  vim  and  more  in-and-out  movement  of  the  arm  than  the 
small  w  exercise.  Retrace  center  of  letter  as  far  downward  as  you  can.  and  keep  turns  narrow  on  base  line.  The 
double-turn  exercise  needs  to  be  practiced  frequently  with  perfect  freedom  and  ease. 


Begin  and  finish  W  '.<ke  V.     Retrace  center.     Use  quick,  elastic  arm  action.     No  wrist  or  finger  movement  necessary.     Finish  whh  care. 


WJj^ 


FORM    STUDY. 

The  W  is  composed  of  principle  12  and  principles  2,  1  and,  2  modified.  It  resembles 
a  small  w  grown  tall.  The  second  form  looks  like  U  or  C,  and  the  last  one  looks  like  M. 
Avoid  these  errors. 

INSTRUCTIONS    FOR    PRACTICE. 

In  making  this  letter,  use  a  graceful  movement  in  the  b -^ginning  part,  and  finish  the  letter  quite  high  so  as  to 
keep  it  from  resembling  U  or  M.  Finish  it  with  a  dot  or  blind  loop.  The  three  letters  joined  make  a  very  pleasing  and 
helpful  exercise.     See  with  what  real  freedom  and  grace  you  can  make  them,  using  pure  arm  movement. 


Ann  movement.     Correct  position.     Watchfulness  of  turns  and  angles.     Care  in  dot  of  i  and  cross  oft.     End  well 


c/Z^c^^^tJ^i.^  ///^ 


^_ 


52 


<=^x^  C7^^y/^^^vy//2^/^/!^//-^V^//^/P^>y^^y/^  '^^x=> 


See  how  straight  and  uni/onn  in  slant  you  can  make  the  exercise.     A  little  finger  action  is  allowable  in  t-like  form. 


/^  i^^L^  (O.^  L^  <a^  L^   ^:^i^  L^ 


^ 


INSTRUCTIONS    FOR    PRACTICE. 


Try  to  produce  a  gi'ay-like  effect  in  compact  or  tracing  exercises.  Wide,  open  or  black  spaces  should  be  avoided. 
About  200  down  strokes  should  be  made  in  a  minute.  Pen  should  not  be  raised  throughout  the  exercise.  Keep  turn 
narrow  at  base  of  t-like  form.     Close  a  and  make  both  turns  the  same  in  size  and  resting  on  the  base  line. 


Begin  d  with  a  and  end  with  uncrossed  t.     Make  without  raising  pen.     Close  a  part  and  retrace  top  carefully. 


<^^  <^/^  ^^^  c^  ^^C^  c:^  ^22^  CPL^ 


£?e>Z^is2:^!^t«;z^^22^«:^ 


FORM   STUDY. 


The  d  is  composed  of  principles  3,  2,  1,  and  4.  It  contains  one  oval,  angle,  retrace,  and  turn, 
as  well  as  the  letter  a.  The  first  defective  form  resembles  ct  or  cl,  while  the  latter  looks  like  a, 
or  an  o  with  a  flourish. 

INSTRUCTIONS    FOR    PRACTICE. 

Use  enough  arm  movement  to  make  execution  easy  and  unrestricted  or  cramped,  and  enough 
hand  and  finger  action  to  make  the  form  precise  and  plain.  The  little  finger  need  not  slip  much,  if  at  all.  in  making 
any  part  of  the  d  except  the  finishing  stroke.    The  da  and  dt  exercises  are  good  forms  for  practice. 


Each  d  should  contain  a  good  a.     Close  a  part  of  d.     See  that  little  finger  slips  freely  and  easily  toward  the  right. 


Make  70  tall  u's  a  minute.     Keep  down  strokes  straight.     Second fomi  al  rate  of  /  00  down  strokes  a  minute. 


INSTRUCTIONS    FOR    PRACTICE. 

Use  a  free,  forceful,  in-and-out  movement  in  these  forms.  The  second  exercise  will  demand  more  gracefulness 
of  motion  than  the  first,  and  a  trifle  less  speed.  Real  grace  rather  than  a  high  rate  of  speed  is  needed.  Watch 
spacing,  slant,  and  height,  as  well  as  c,uality  of  line.  The  latter  tells  many  secrets  as  to  kind  of  movement  you  are 
using,  and  whether  your  touch  is  too  heavy  or  light. 

53 


^==x^   c//icy^mi/?/l€ny€^^?9u^/9/lc/A^^^^^ 


MODEL  PRACTICE 

This  is  an  example  of  cross-line  practice — of  practicing  crosswise  over  that  which  had  been  written.  Such  prac- 
tice saves  paper,  encourages  writing  in  a  direct  line,  and  aids  one  to  space  regularly  and  practice  systematically.  First 
the  word  did  was  written  and  then  the  u  exercise  was  practiced  crosswise  over  it.  At  least  every  third  copy  in  this 
book  can  be  practiced  advantageously  this  way. 


The  U  begins  like  W  and  ends  like  A .     Second  style  is  used  to  Join  to  small  letters.     Use  an  easy  movement. 


FORM   STUDY. 

The   U   is  composed  of  principles  12.  2,  1,  and  3 
finish,  and  the  last  one  is  too  narrow  and  hook-like 


The  second  form  looks  like  I  with  a  fancy 
in  the  beginning. 


INSTRUCTIONS    FOR    PRACTICE. 

Cultivate  a  light,  smooth,  uniform  touch  of  the  pen  to  the  paper.  It  encourages  freedom 
and  grace  in  movement.  Last  turn  in  second  style  U  should  not  be  more  rounding  than  the  first.  Check  the  motion 
slighUy  in  making  it,  and  in  joining  two  small  letters.  End  the  first  style  toward  the  right  so  it  will  not  resemble  Y. 
Retrace  second  part  at  top  and  begin  it  and  similar  letters  with  a  firm,  emphatic  dot,  or  small  loop. 

54 


End  U  iviih  a  gin.le  cuive  pointing  downward  toward  the  right,  or  join  carefuily  to  small  letter.     Use  an  easy,  gliding  movement. 


Sit  healthfully.     Keep  pen  in  good  condition.     Make  exercises  with  a  quick,  springy  motion.     Study  form  carefully,  and  cri.icise  closely. 


/> 


tcx^oocc>oo>ooooociao^ 


INSTRUCTIONS    FOR    PRACTICE. 

Jse  push-anil-puU  movement  in  the  first  exercise,  and  a  quick,  reverse-oval  motion  in  second  and  third.  Little 
finger  should  glide  freely  in  the  straight-line  form,  jog  gently  toward  the  right  in  the  second,  and  rest  in  forming  each 
oval  in  the  third.  This  reverse  oval  movement  needs  careful  attention  as  we  have  not  had  much  practice  thus  far 
upon  it.    Be  patient,  persevering,  and  systematic  in  your  practice. 


Make  first  pari  of  p  with  a  forceful,  in-and-out  arm  movement.     Second  part  resembles  reversed  d.     Retrace  lower  part  carefully. 


FORM    STUDY. 

The  p  is  composed  of  principles  2,  1,  3,  and  2,  the  two  first  of  which  are  modified  by  being 
longer.  The  letter  contains  an  inverted  d  with  a  projected  angle  instead  of  a  turn.  The  first 
common  fault  resembles  js,  while  the  latter  might  be  mistaken  for  f. 

INSTRUCTIONS    FOR    PRACTICE. 

Use  plenty  of  fore-arm  or  hinge  action  in  making  first  and  second  strokes  of  p.  Make  the 
letter  without  raising  the  pen  and  finish  the  same  as  s.  Make  the  second  part  with  a  quick,  cir 
cular  action,  pausing  as  the  letter  is  completed  before  joining  to  the  next  as  in  the  P  e.\ercise. 
Use  little  or  no  finger  action,  and  do  nothing  with  a  slow,  dragging  motion. 


Write  the  word  without  raising  pen.     Compare  size  of  ovals  in  p  and  d;  also  shape.     Use  an  easy,  arm  movement. 


Use  a  graceful  movement  in  making  first  exercise.    Pause  slightly  at  top  of  second  exercise  and  keep  loop  full. 


55 


-<] 


INSTRUCTIONS    FOR    PRACTICE. 

"se  pure  arm  movement  in  these  exercises.  Avoid  spasmodic  action  and  endeavor  to  develop  a  smootli,  regular, 
firm  yet  free  arm  action.  Keep  the  crossing  high  in  the  second  exercise,  the  top  sharp  and  the  bottom  rounding. 
See  that  the  fore-arm  acts  diagonally  in-and-out  the  sleeve  in  making  the  lower  loop  form. 


Begin  Y  like  U  and  end  li^e  small  y.     Cross  on  base  lin^.     Retrace  second  puri  at  top.     Use  ami  movement 


FORM   STUDY. 

The  Y  resembles  U  and  is  composed  of  U  and  y  combined.  Avoid  the  errors  shown  in 
the  second  form  by  keeping  down  strokes  uniform  in  slant.  The  last  form  lacks  width 
and  grace,   having  been  executed  with  a  cramped  movement. 

INSTRUCTIONS  ^FOR    PRACTICE. 

Use  a  free  up-and-down  or  in-and-out  movement  of  the  fore-arm,  causing  the  elbow  to 

act  somewhat  like  a  hinge.     The  Y  contains  two  turns,  an  angle,  and  a  loop.     Crossing 

should  be  on  the  base  line  and  not  below  as  is  the  tendency.     There  is  no  need  of  any  finger  action  in  this  letter. 

Use  a  springy,  graceful  arm  movement  at  all  times  and  you  will  sometime  know  from  experience  what  real  ease  and 

grace  in  writing  are. 


Use  arm  movement.     Watch  sp::cing  between  words.     Keep  short  letters  uniform  in  height.     Keep  doivn  strokes  on  same  slant. 


INSTRUCTIONS    FOR    PRACTICE. 

See  that  the  little  finger  slips  gently  toward  the  right  in  sentence  writing.  As  a  rule,  write  each  word  without 
raising  the  pen.  Think  of  spacing,  slant,  turns,  angles,  loops,  retraces,  etc.  while  writing.  In  other  words,  think  good 
writing  and  good  writing  will  be  the  result. 


Use  an  easy,  rapid,  rolling  arm  movement  in  thi  first  exercise,  and  a  semi-rolling  movement  in  the  second. 


Use  arm  movement.     Keep  crossing  low  by  curving  up  stroke.     Check  motion,  near  base  line  so  as  to  keep  turn  narrow. 


5G 


FORM   STUDY. 
The  I  is  composei!  of  principles  7  and  2.     It  contains  an  angle,  loop  and  turn;  also  an  i.    The 
first  common  fault  locks  like  and  uncrossed  t,  and  the  second  looks  like  one  style  of  the  capital 
C.    Loop  or  extended  letters  are  from  two  to  three  times  as  high  as  the  short  or  minimum  letters. 
The  crossing  should  be  low. 

INSTRUCTIONS    FOR    PRACTICE. 

Use  arm  movement  and.  if  you  can  do  better,  a  little  finger  action  in  conjunction  with  that 
of  the  arm.  Curve  the  up  stroke  more  than  the  down,  and  see  that  the  arm  moves  freely  in-and- 
out  of  the  sleeve  in  making  loop.  Keep  loop  full  by  curving  up  stroke  considerably  and  making  crossing  low.  Make 
thi   I  exercise  without  raising  the  pen;  also  the  I  and  t  except  the  crossings. 


Make  freely  with  arm  movement.     Use  but  little  finger  action.     Check  motion  to  form  short  turn  at  base. 


INSTRUCTIONS    FOR    PRACTICE. 

Keep  loops  full  and  rounding  at  top  by  using  a  free,  semi-rolling  motion  of  the  arm.  Watch  spacing  and  slant, 
keeping  slant  of  u  to  conform  with  the  I's.  All  turns  on  the  base  line  should  be  equally  rounding  or  angular.  See 
that  little  finger  glides  freely  in  the  long  connecting  and  upward  strokes.  It  should  slip  downward  in  the  loop  also, 
but  by  coming  to  a  halt  or  standstill  near  the  crossing  the  arm  motion  can  be  checked  sufficiently  by  the  time  the 
base  line  is  reached  to  form  a  short  turn  and  avoid  an  ang'e  or  a  big  round  turn. 


Let  arm  roll  freely  in  reverse  oval  exercise.     Make  reverse  loop  exercise  with  semi-rolling  motion.     Watch  spacing. 


The  I  begins  same  as  reverse  oval  exercise  and  ends  like  Y.     Cross  on  base  line.     Make  tracer  without  checking  the  movement 


FORM  STUDY. 
The  J  is  composed  of  principles  3  and  8  modified  by  being  longer.     It  ends  like  the 
small  letter  j.     The  second  form  resembles  I,  and  the  last  is  too  large  below  the  base  line. 

INSTRUCTIONS    FOR    PRACTICE. 

Drive  the  arm  out  of  the  sleeve  to  make  the  first  upward  stroke.  Make  the  long 
downward  stroke  as  straight  as  possible  without  forming  angles  at  top  or  bottom.  Make 
at  the  rate  of  about  one  a  second.  Use  a  springy,  lively  arm  motion  in  the  tracer,  thinking  of  form  and  freedom  all 
the  while. 

57 


Joining  words  strengthens  movement.     See  spacing  between  words.     Push  on  the  pen  in  making  the  up  s  rokes. 


Lei  movement  come  direct  from  elbow  for  the  I.     Finish  v  carefully  and  make  lower  turn  in  I  the  same  as  in  v. 


..,^'C^-iy(^-<^-iy<--'C^^^ 


INSTRUCTIONS    FOR    PRACTICE. 

Keep  the  loop  full  and  the  crossing  low  by  using  a  free,  semi-rolling  movement.  Check  the  motion  as  you  near 
the  base  line  or  you  will  have  difficulty  in  keeping  lower  turn  narrow.  See  that  the  fore-arm  crosses  the  paper  diag- 
onally as  illustrated  in  the  fore  part  of  this  book.  Make  from  75  to  100  I's  joined  in  a  minute,  and  about  the  same 
number  of  Iv's. 


Begin  b  like  I  and  end  like  v.     Pause  in  finishing  the  letter.     Use  little  or  no  finger  movement. 


FORM   STUDY. 

The  b  is  composed  of  principles  7  and  2,  and  a  finish  like  v.  The  first  common  fault 
resembles  h,  ti,  or  te;  and  the  second  looks  like  le.  The  finish  of  the  b  is  its  chief  character- 
istic, and  should  therefore  be  made  with  great  care. 

INSTRUCTIONS    FOR    PRACTICE. 

Use  a  free,  half-rolling,  fore-arm  motion,  the  elbow  acting  as  a  hinge  in  making  the  loop. 
Keep  the  crossing  low,  the  down  stroke  nearly  straight,  and  the  finish  small  and  high.  Check 
the  motion  near  the  base  line  so  as  to  form  a  small  turn  instead  of  an  angle. 


Use  a  free  arm  movement  and  but  little  finger  action.     Write  word  without  raising  pen.     Make  all  turns  alike. 


Check  action  at  base  ofb  and  in  finish  ofb  and  w.     Use  rolling  motion  in  reverse  oval  loop  exercise. 


58 


The  I  begins  like  J  and  ends  like  s  and  principle  13.     Let  arm  roll  freely  in  the  tracer.     Think  clearly. 

1     y^     ^     ^     /n    /n     /n  /"/ 


jy. 


'JJ^J 


FORM    STUDY. 


JJ?d 


The  I  is  composed  of  principles  3  and  1"  modified.    The  second  form  resembles  Q,  and 
the  last  looks  like  d.     Learn  to  be  plain  and  unmistakable. 

INSTRUCTIONS    FOR    PRACTICE. 

Employ  a  free,  semi-rolling  arm  movement  in  the  I.  Pause  with  pen  firmly  on  paper 
in  finishing  the  letter.  Keep  downward  stroke  nearly  straight,  and  push  the  fore-arm  directly  forward  in  the  sleeve 
in  starting  the  letter.  Use  a  light,  elastic  arm  movement  In  the  traces.  See  how  springy  the  fore-arm  rest  near  the 
elbow  can  become  by  proper  rela.xation  and  tension  while  practicing  this  delightfully  easy  and  graceful  exercise. 


Put  forth  your  most  imeitigent  and  enthusiastic  effort  each  time  and  improvement  willfollou). 


.J 


INSTRUCTIONS    FOR    PRACTICE. 


Yes,  improvement  follows  every  honest  effort.  You  may  not  see  it  at  the  time,  but  it  has  been  made,  e'ither  in 
the  mind,  in  the  muscle,  or  on  the  paper.  Improvement  consists  of  three  kinds:  subjective,  muscular,  and  objective. 
Right  effort  (thinking)  creates  right  action  (muscle),  and  right  action  creates  good  writing. 


Principle  7  is  composed  of  right  curve  and  straight  line.     Time  1 ,  2:  1 .  2:  1 .  2.     About  75  in  a  minute.     Arm -movement . 


INSTRUCTIONS    FOR    PRACTICE. 

This  is  a  good  form  to  practice  crosswise  over  previous  copy.  Uniform  slant  and  spacing  are  two  essentials 
which  need  attention  until  they  become  habitual.  Keep  crossing  low  and  downward  stroke  nearly  straight.  Maintain 
turn  at  top  and  a  free,  arm  movement.  Slight  finger  action  is  helpful.  It  is  excessive  finger  action  that  is  tiring 
and  detrimental  to  graceful  writing. 


The  h  begins  like  I  and  ends  like  n.    Keep  down  strokes  parallel.     Begin  and  end  quickly,  but  pause  at  angle. 


59 


<rx^  (:^/^./7/,^^/?/lrfrmrn/^//r///r,/r^^^^  '^^^x=> 


FORM    STUDY. 

The  h  is  composed  of  principles  7  and  G.  It  contains  two  angles,  one  loop,  and  two 
turns.  The  first  common  fault  resembles  Ic  and  the  second  li.  The  last  is  too  crowded  by 
the  second  part  being  made  too  close  to  the  first. 

INSTRUCTIONS    FOR    PRACTICE. 

Make  loop  with  a  quick,  elastic  arm  action,  pause  at  base,  and  then  finish  with  a  graceful, 
gliding,  lateral  motion.  Be  careful  to  make  upper  turn  in  second  part  of  h  as  rounding  as 
the  lower  turn. 


Retrace  r  s  carefully.     Close  a.     The  h  has  one  angle  and  two  turns.     Begin  and  end  word  freely .     Check  action  at  shoulder  of  r 


See  how  easily,  uniformly,  and  lightly  you  can  make  these  oval  exercises.     Use  pure  arm  movement.     200  ovals  a  minuie. 


The  X  resemble  H.  both  parts  beginning  the  same.     Use  second  style  when  joining  to  small  letters.     Keep  last  turn  narrow. 

^^ZJJ^ZJJS"  ^"  ^' '"  ^^ '' 

FORM    STUDY. 

The  X  is  composed  of  principles  11  and  3  modified.  The  second  part  begins  like  the 
second  part  of  H  and  ends  the  same  as  A.  The  second  form  resembles  I  made  with  two 
strokes,  and  the  last  looks  like  H. 

INSTRUCTIONS    FOR    PRACTICE. 

Use  a  semi-rolling  movement  in  making  the  X.  Try  to  have  the  two  parts  merely  touch.  See  with  what  real 
ease  and  grace  you  can  make  the  letter.  You  must  learn  to  relax  muscle  sufficiently  for  real  freedom  and  yet  to 
tension  it  enoiigh  for  perfect  control.  Somewhere  between  a  cramped  condition  and  looseness  the  true  condition 
e:::sts.     Find  it. 


Two.  quick,  half  circular  impulses  make  the  X.     See  that  the  tittle  finger  glides  toward  the  right  in  small  letters. 


(iO 


Keep  down  stroke  nearly  straight  and  crossing  lou/.     Use  but  little  finger  action;  riiafnly  arm  movement.     Turn  at  top 


\^. 


The  k  begins  and  ends  like  h.     Second  part  resembles  capital  R.     Make  small  oval  horizontal .     Time.  1 .  2;  3.  4;  1 ,  2;  3,  4.     Pause  at  angle. 


FORM    STUDY. 

The  k  is  composed  of  principles  7,  3.  2,  and  4:  the  3  and  2  being  modified.  The  first 
detective  form  looks  too  much  like  h,  because  the  little  oval  is  too  small.  The  second  form 
is  too  crowded,  and  the  last  resembles  the  capital  R. 

INSTRUCTIONS    FOR    PRACTICE. 

Pause  at  the  base  line  after  making  loop,  but  do  not  raise  the  pen.  The  last  down  stroke 
in  k  should  be  the  same  slant  as  down  stroke  in  loop.  Make  each  part  with  a  quick,  springy 
action,  using  the  fingers  a  very  little  if  desired.     Second  part  is  made  same  height  as  r  and 


s,  which  is  about  one-fourth  higher  than  such  letters  as  i,  n,  and  w. 


See  that  elbow  acts  like  h-'nge  in  making  the  loop.     Finish  k  with  narrow  turn.     Little  finger  should  glide  from  tetter  to  letter. 


Neatness,  sureness  quickness,  are  all  desirable.     Acquire  them.     Keep  a  good  position.     Secure  regular  spacing.     Avoid  angles. 


INSTRUCTIONS    FOR    PRACTICE. 

Use  a  free,  full  circular  motion  in  the  retrace,  reverse  oval  e.xercise,  retracing  each  one  from  six  to  teir  times. 
Make  the  reverse  loop  exercise  with  a  free,  uniform,  semi-rolling  movement.  Aim  to  have  space  between  loops  about 
the  same  as  in  them. 


Use  an  easy  semi-rolling  movement.    Keep  crossing  on  base  line,  and  little  loop  narrow.     Elbow  should  be  free. 


61 


<::x^  c7/u  /T/^?f/?/lrrc??te^/'J/ia/^^-dY//t^^^ 


FORM    STUDY. 

The  Z  begins  as  X  and  ends  as  J.  It  contains  a  loop  like  D  and  upside  down  it  looks  like 
E.  The  second  form  looks  like  a  big  figure  3,  and  the  last  looks  about  as  much  like  N  as  Z. 
One  loop  is  too  large  and  the  other  too  small. 

INSTRUCTIONS    FOR    PRACTICE. 

Lightness  and  freedom  of  movement  are  essential  to  permanent  improvement.  The  copy- 
book method  of  drawing  the  letters  slowly  with  the  finger  movement  is  all  lost  when  rapid  writing  is  attempted. 
Therefore  waste  no  time  with  slow  writing  but  persevere  with  freedom  and  form  at  one  and  the  same  time.  Practice 
freely,  but  endeavor  to  control  the  motion.  Each  successive,  earnest  effort  makes  control  that  much  the  easier. 
Persistence  in  the  right  direction  always  wins.    In  writing  it  is  as  true  as  in  other  things.    Therefore  persevere. 


Small  loop  in  Z  same  size  and  slant  as  e.     Write  word  without  raising  pen.        Loop  crosses  on  base  line. 
ay<^-'J'n--C^     .^>-«>>'Z..-£-</      ^CT-T.'T^^e^       ^^!<!5^-7--L-e-<:^       ,^/.-tP-^!.-^L-&-<^       'C-C^^-l^n.^e.^        V^ 


Make  !  00  loops  joined  a  minute.     Let  elbow  act  like  hinge.     Keep  crossing  high.     Make  turn  at  base.     Down  stroke  straight. 


The  J  is  composed  of  the  reversed  loop :  dot  same  as  i.     Join  the  letters  with  a  strong,  gliding  motion. 


FORM    STUDY   AND    PRACTICE. 

The  j  is  composed  of  principles  2  and  S,  and  contains  an  angle,  a  loop,  and  a  dot.  The  first 
usual  error  consists  in  making  it  rounding  at  the  top.  and  the  second  form  is  too  slanting,  a 
fault  common  to  all  lower  loops.  When  j  follows  n,  it  resembles  y,  if  the  spacing  between  the 
two  letters  is  narrow.  Use  a  free  arm  movement,  almost  free  from  finger  action,  with  enough 
circular  motion  to  make  loop  full  with  a  turn  at  the  bottom. 


Keep  down  strokes  parallel.     Use  a  free  arm  movement.     Dot  j  and  finish  p  carefully.     All  turns  should  be  similar. 


G2 


<^X^  c5^^^^^/^^^/^;>^2^:^g/^/^/^^^^^<^^F//>^^>'^  ^ 


See  how  neatly  you  can  retrace  the  reverse  ovals.     Let  the  hand  swing  easily  from  left  to  right  in  the  compound  curve  exercise. 


Make  small  loop  and  horizontal  curve  with  care  and  gracefulness.     First  style  joins  to  small  letters.     Avoid  carelessness. 


FORM    STUDY. 

The  Q  is  composed  of  principles  10,  3  and  2.    The  loop  in  the  second  form  is  too  large, 
and  the  last  one  resembles  an  L  or  an  h.    The  small  loop  should  be  horizontal. 

INSTRUCTIONS    FOR    PRACTICE. 

Use  a  free  arm  movement  but  check  or  restrain  the  motion  while  forming  the  loop,  or 
it  may  become  so  large  as  to  resemble  S.  The  first  style  is  intended  to  join  to  small  letters,  but  the  second  is  not  so 
intended.  Begin  with  a  definite  dot  of  small  loop  and  end  with  a  lateral  curve.  The  space  between  the  down  stroke 
and  the  finish  in  first  style  is  not  as  wide  as  you  might  suppose.     The  tendency  is  therefore  to  make  it  too  wide. 


Quality  and  quickness  are  in  demand.     Watch  detail.      Think  good  writing.      The  pen  will  soon  produce  it. 


This  little  double-turn  exercise  needs  to  be  made  with  free,  gliding,  graceful  action,  without  pauses.     Keep  loops  full. 


Begin  y  like  v  and  end  like  j.     Cross  on  line.     Maintain  two  turns,  an  angle,  and  a  loop. 


FORM    STUDY. 

The  letter  y  is  composed  of  principles  6  and  8.  It  begins  as  n  finishes,  and  ends  like  j. 
It  is  an  inverted  h.  The  first  defective  form  resembles  g,  and  the  second  looks  like  a  capital 
Y.  Begin  the  letter  with  a  graceful,  gliding  movement  and  end  it  with  almost  pure  hinge 
motion  at  the  elbow.  Little  or  no  finger  movement  is  needed.  Join  the  four  y's  without 
raising  the  pen  and  end  with  a  griceful  flourish. 

63 


Use  enough  arn\  movement  lo  write  easily ;  depending  upon  carefulness  for  control.     Watch  turns,  angles,  and  loops. 

INSTRUCTIONS    FOR    PRACTICE. 

This  is  an  excellent  word  for  practice.  Aim  to  make  all  loops  same  size  and  slant.  The 
elbow  should  act  like  a  hinge  in  making  loops,  and  especially  in  making  the  long  double-curve  from  bottom  of  y  to 
cop  uf  I.     Keep  down  strokes  nearly  straight,  and  slant  lower  loops  no  more  than  upper  loops. 


Use  a  free,  lateral  arm  movement  in  first  form.     Let  arm  act  quickly  in  last  exercise.     Keep  upper  and  lower  loops  same  size. 


Begin  L  like  C  and  end  like  Q.     Curve  down  stroke  nicely  by  using  a  graceful  movement.     Keep  loop  small. 


FORM   STUDY. 

The  L  Is  composed  of  principles  13,  3,  and  2.    The  second  form  resemb'es  S,  and  the 
last  looks  like  h.    The  loop  should  be  about  horizontal. 

INSTRUCTIONS    FOR    PRACTICE. 

The  L  being  composed  of  two  compound-curves  is  the  embodiment  of  gi'acefulness.  To  execute  it  successfully,  a 
graceful  movement  is  necessary.  Gracefulness  of  action  Is  the  result  of  a  well-trained  muscle,  which,  in  turn,  is  the 
product  of  rhythmical  thought  and  training.  The  exercises  preceding  the  L  are  calculated  to  develop  a  symmetrical 
action  and  are  therefore  worthy  of  faithful  practice.  See  how  gracefully  you  can  cause  the  pen  to  caper  over  the 
paper.    The  L  will  tell  the  tale.    See  that  it  tells  nothing  but  good  tales — tales  of  patient  practice  and  graceful  action. 


4 


Let  "how  easily  and  hoiv  well"  be  your  motto.     Vrite  each  word  without  riising  th;  pen.     Observe  spacing.     Sit  healthfully. 


Check  motion  at  top  to  keep  turn  narrow.     See  how  well  you  can  now  make  the  5th  principle  exercise. 


64 


<=X^  cMr/7},,^  y//rr^w^n/9^/r//^^d^//1^P//W/^M^^ 


^^. 


Begin  and  end  z  like  y.     Cross  on  base  line.     Study  angle  and  turn.     Think  of  n  while  practicing. 


FORM    STUDY. 

The  z  is  composed  of  principles  5  and  8.  the  latter  being  modified  at  the  top.  The  second 
part  of  the  first  impe-.foct  z  is  too  high  and  large,  and  the  last  letter  too  rounding. 

INSTRUCTIONS    FOR    PRACTICE. 

Check  motion  and  pause  slightly  at  angle  on  base  line.  Think  of  n  in  the  beginning  and  of  y 
in  the  ending.  Use  an  easy  arm  movement,  keeping  turns  narrow  and  angle  pointing  downward. 
Crossing  should  be  on  the  base  line  and  there  should  be  a  turn  at  the  bottom  of  loop.  An  easy 
letter  is  the  z  if  made  with  a  non-spasmodic,  uniform  arm  movement. 


Make  o  quickly.     Pause  at  angle  of  z.     Close  o.     Loop  e.     Equal  spacing  between  letters.     Use  gliding  arm  movement. 


Arm  should  act  freely  at  elboiv.     Curve  up  and  down  strokes  equally.     Use  elas.ic.  graceful  arm  moven:em. 


Begin  S  as  I  and  end  as  s.     Crossing  half  the  height.     Pause  at  dot.     Cun^  down  stroke  by  using  graceful  movement. 


FORM    STUDY. 


'i 


The  S  is  composed  of  principles  7  and  13.  Crossing  should  be  done  in  center. 
Second  S  resembles  G,  third  looks  like  L,  and  last  is  either.  It  is  either,  as  conte.xt 
might  determine. 


INSTRUCTIONS    FOR    PRACTICE. 

Start  the  letter  S  with  an  easy  swing  toward  the  right;  then  upward,  rounding  the  turn  without  a  pause:  then 
downward  with  a  springy,  rocking  action  in  the  finish.  If  you  have  difficulty,  think  of  small  I  in  starting  and  of  small 
s  in  ending,  changing  the  thought  from  the  one  to  the  other  after  rounding  the  top. 


0.5 


Think  now  and  then  of  correct  posilion.     See  that  little  finder  jogs  toward  the  right.     Use  strong,  connective  arm  movement. 


Little  finger  shculd  slip  freely  in  loop,  and  from  a  to  a.     Make  down  strokes  straight.     Close  oval  of  a. 


Ike  g  IS  composed  of  a  and  j.     Start  carefuUy  and  end  freely.     Start  letter  toward  left,  not  upward  or  downward. 


FORM   STUDY. 

The  g  is  composed  of  principles  3.  2.  and  8.  The  first  common  error  consists  in  letting  it  open 
at  the  top  and  it  then  resembles  y.    The  last  letter  slants  too  much  below  the  line. 

INSTRUCTIONS    FOR    PRACTICE. 

Make  the  letter  without  raising  the  pen.  Little  finger  need  not  slip  in  making  first  stroke, 
but  it  should  slip  freely  in  the  loop.  Make  the  exercise  without  raising  the  pen.  Crossing  should 
be  on  the  base  line.  Close  a  part  and  avoid  angle  at  bottom  of  loop.  See  that  the  arm  acts 
freely  on  the  muscle  at  the  elbow  in  making  the  loop. 


Write  word  without  raising  the  pen.     Close  oval  of  g  and  a.     Down  strokes  should  be  parallel,  except  first  stroke  in  a  and  g. 


Use  a  springy,  hinge-like  arm  movement.     Make  1 50  loops  a  minute:  75.  separated.     Be  careful.     Act  skillfully. 


■7 


Begin  like  I.     End  first  like  1 ,  second  like  s.     Keep  crossing  low.     No  finger  action.     End  first  firmly .  second  gracefully . 


66 


FORM    STUDY. 

The  G  is  composed  of  principlss  7,  2,  and  1.     Second  G  is  too  wide,  ansl  the  last  is  too 
narrow. 

INSTRUCTIONS    FOR    PRACTICE. 

Make  loop  Kong  by  keeping  crossing  Iotv-.  Make  both  downward  strokes  in  iscond  style 
parallel.  Start  the  letter  with  a  graceful,  forceful,  upward  fore-arm  swing.  No  fing?r  action  is  necessary.  Learn  to 
be  quick  without  lieing  liuiried.  and  sure  without  being  cramped.  Exercise;;  will  aid  you  to  do  it.  Practice  tliein 
faithfully. 


Use  a  free,  gilding  motion  fi  om  tetter  to  letter.     Spacing  is  wide  between  letters,  not  in  them.     End  g  and y  gracefully. 


r 


Make  tall  small  o  exercise  iviih  springy,  in-and-out  arm  movement.    Close  a  carefully  and  make  last  down  stroke  straight. 


(^Z^r^t^t^mn^-rTz^ 


The  q  is  composed  of  a  and  lower,  reverse  loop.     Make  loop  wuh  quick,  ir.-and-out  arm  movem.ent. 


^^^^ 


/ 


FORM    STUDY. 

The  q  is  composed  of  principles  3,  -,  1,  2.  and  2.  The  first  defective  q  is  too  rounding,  and 
the  last  too  angular. 

INSTRUCTIONS    FOR    PRACTICE. 

The  little  finger  may  rest  while  making  first  part  of  q,  but  it  may  slip  in  the  loop  part.  Close 
loop  on  base  line  and  finish  like  a.  Join  the  letters  without  raising  the  pen.  A  slight  pause 
may  be  made  in  finishing  loop  if  desired.  Avoid  broken,  kinky  lines.  Keep  the  fingerj  fron-. 
actin.g  excessively.  A  little  finger  motion  is  advantageous  to  good  form  and  exactness  of  detail, 
but  too  much  is  destructive  of  ease  in  execution  and  grace  in  form. 


Quell,  control  movement.    Loops  should  be  same  size.     Turn  should  be  the  same.    Do  not  raise  pen  in  word. 


07 


<=>^^(^Ac^//M/J//^rcnu^t/9//r///rr^ 


Use  a  graceful,  elastic  arm  movement.     Mfke  all  loops  same  size.     Count.  1.2;  1.2;  1 .  2  for  stem;  50  a  minute. 


Stop  lateral  motion  suddenly  at  angle,  and  make  stem  with  springy  arm  movement,  pausing  at  dot.     Space  regularly. 


FORM    STUDV. 

The  T  is  composed  of  principles  1  and  1".    The  second  letter  resembles  J  and  the  last 
looks  like  I.    Avoid  these  and  other  errors.     Study  form  critically. 

INSTRUCTIONS    FOR    PRACTICE. 


Start  freely  toward  the  right  with  straight  line  in  making  the  T.    Pause  but  little  at 
angle,  and  make  stem  with  a  downward  and  then  leftward  sweep  of  the  pen.  using  pure  arm  movement. 


Coed  writing  is  first  a  matter  of  correct  training.  ai:d  ti.en  of  habit.     Cood  writing  is  a  valuable  habit. 


See  that  arm  acts  like  hinge  at  elboiv  in  making  loop.     Use  springy,  in-and-out  arm  movement  in  tail  o  exercise. 


Make  f  without  raising  pen.     Begin  and  end  as  I  wih  loiuer  loop  cs  in  q.     Looi^  should  be  same  size. 


FORM    STUDY. 

The  f  is  composed  of  principles  7,  1.  2,  and  2.  It  contains  an  1  and  i  and  the  lower  part  of  q. 
The  first  common  error  causes  it  to  look  like  b,  and  the  last  contains  a  flourish.  Be  as  careful 
about  finishing  letters  as  beginning  them,  and  your  writing  will  be  legible. 

INSTRUCTIONS    FOR    PRACTICE. 

See  that  fore-arm  acts  like  hinge  at  elbow  in  making  the  f.  Close  lower  loop  as  you  come  to 
the  base  line  from  below.  Begin  and  end  the  letter  with  principle  2.  Make  at  least  six  f's  joined 
without  raising  the  pan.  pausing  slightly  in  finishing  at  the  base  line.  Use  a  quick,  light  yet  firm 
arm  movement  with  a  little  fingei  action  if  derired. 


G8 


<=>^^ry^Ac/7fm/?Merc?run/9^^^ 


y//y//y 


y 


The  four  loops,  and  the  four  turns  on  base  line,  should  be  the  same.     Use  plenty  of  push-and-pull  arm  movement. 


Curve  up  and  down  strokes  equally.     Use  graceful,  twist-like  arm  movement.     Curve  stem  s'ightlyand  end  firmly. 


Make  top  horizontal.     Cross  neatly.     Curve  down  stroke  gently.     Use  easy  arm  movement.     Keep  a  good  posithn. 


.z^^ 


FORM    STUDY. 

The  F  is  composed  of  principles  1.  i;j.  and  1;  also  of  the  T  with  a  cross.  The  last  lorm 
resemhles  I  or  T,  and  the  second  lacks  width  and  without  the  cross  looks  like  the  lon.i;  s. 
Learn  to  be  precise  about  detail.    Be  particular  with  little  things.     A  good  hand  will  follow. 


Yes.  care  is  the  secret  of  good  writing.     Watchfulness  of  details,  and  care  in  execution  constitute  nine-tenths  of  all  good  writing. 


Time.  1.2.3.  4:  1.2.  3.  4:  about  80  to  the  minute.     Pure  anti  movement.     Drop  u/iih  connecting  stroke,  and  end  with  flourish. 


INSTRUCTIONS    FOR    PRACTICE. 

This  is  an  excellent,  old-time,  well-tried  exercise.  It  is  fine  for  developing  a  graceful  movement,  and  gaining 
control  of  the  pen.  Practice  it  frequently.  It  is  worth  its  weight  in  diamonds,  'and  then  some."  See  how  expert  you 
can  become  practicing  it.     No  other  one  exercise,  perhaps,  contains  such  a  pleasing  arrangement  of  lines. 


69 


C^/icy^/m/?//^/.-e??un/9///M^^^ 


Let  little  finger  rest  in  making  these  characters.     Use  a  quick  combined  movement  of  the  fingers,  hand,  and  fore-arm. 

INSTRUCTIONS    FOR    PRACTICE. 

Make  the  long,  .straight  stroke  first  with  a  firm,  quick  downward  motion.  Malie  the  c  with  a  quick,  circular  mo- 
tion, curving  tiie  downward  stroke  considerably.  The  %  in  the  dollars  sign  is  made  with  a  quick,  twist-like  hand 
action  with  the  little  finger  serving  as  a  pivot  upon  which  the  hand  acts. 


The  "per  cent"  and  "in  care  of  characters  resemble  small  o  and  c  combined  with  stem  of  p.  and  are  made  in  like  manner. 


^^  yC  p^  ^.  y/^  yC  yC  y(>  yi  y.  y^  yC  yo  Yo  Yc  yC  y^o  y^o^o 


Be  quick  and  sure.     Hand  should  roll  or  rock  on  little  finger.     Fingers  may  act  some  but  power  comes  from  elbow. 

C^c^c^ccc^ca  Q.    y-e^.  y-c<:^.  Y-e^  Y^^.  y^ 

"Account"  character  is  composed  of  a,  stem  of  p.  and  c.     "At"  sign  is  made  of  a  with  a  circle  thrown  over. 

yC  y/c.  y/c.  yL  y/c  y/^  Yc.         (^  (^  (^  (p  (^  (p  (p  (^ 


Plainness,  sureness.  quickness,  neatness,  systematic  arrangement  are  essentials  in  figures.     Sli  ive  to  acquire  them. 

/  2  3  ^  ^  f^  /  s^y  o  /  2  3  u  s  {,  7  ry  o  /  2  3  ^s  fo  7  s^ y  ^  /  Z  3  ^s  C> 

INSTRUCTIONS    FOR    PRACTICE. 

Little  finger  should  rest  in  making  figures,  but  slip  in  g;)ing  from  one  to  another.  Begin  1,  4.  and  C  alike,  and  end 
7  and  9  the  same.  Start  2  and  3  in  the  same  manner  and  finish  3  and  5  alike,  the  figure  S  is  an  S  inverted.  The  G  and 
S  extend  above  the  others,  and  the  7  and  9  extend  below  ths  line.  Make  each  figure  unmistakablj'.  Figures,  unlike 
letters,  are  unrelated  by  context.    Each  must  stand  on  its  own  tooting.    Hence  the  need  of  unmistakableness. 


Keep  capitals  smalt  and  simple.     Little  finger  should  rest  and  serve  as  center  of  control.     Use  either  style  of  r. 

O^r  C^  C^  Ct^  O?^,  Co^        <S^.B^.3?-.^..8^j^o^. 

70 


Keep  a  good  position.     Use  good  pens  and  paper.     Study  as  ivell  as  practice.     Little  letters  should  be  uniform  in  height. 

INSTRUCTIONS    FOR    PRACTICE. 

After  writing  the  above  sentence,  compare  it  with  some  of  your  writing  before  beginning  this  serias  of  lessons. 
Is  your  writing  easier?  It  certainly  is.  unless  you  have  ignored  the  instructions.  Is  your  writing  more  uniform?  If 
you  have  studied  and  criticised  as  well  as  practiced,  it  certainly  is.  After  examining  carefully  your  writing  at  tl.j 
present  stage,  review  such  portions  of  the  work  you  are  needing  before  proceeding  to  the  next  part. 


This  and  the  previous  sentence  contain  the  secrets  of  learning  to  write  wt'.l.     They  contain  in  a  nutshell  the  essentials  of  good  uniting. 


Use  a  uniform,  '•oiling,  non-spasmedic  am:  mr'<:  nent  in  these  exercises.     Keep  elbotv  near  edge  of  desk  or  table. 


71 


<^x^  Q^^  ^y^/^r/yyy^^/^/V^A/^/r/^y/?^/^/////^//^^^>^> 


PART    SEVEN    OR    BOOK    SEVEN 

Comprises  all  of  the  capitals,  small  letters,  and  figures;  movement  and  letter  exercises;  all  sradod  and  arranged 
to  facilitate  the  learnin,2;  of  a  practical,  graceful,  easy,  rapid  hand,  with  specific  instructions  for  pupil  and  teacher 
accompanying  each  copy. 

Part  Seven  or  Book  Seven  should  not  be  attempted  or  practiced  until  Parts  Five  and  Six  have  been  faithfully 
studied  and  i)raotici'd  on  the  part  of  both  teacher  and  pupil,  as  the  work  therein  is  more  simple  than,  and  leads  to, 
that  vvhicli  is  presented  in  Part  Seven. 


It  is  also  intended  to  be  practiced  across  pre- 


Every  third  copy  is  a  review,  or  a  prelude  to  that  which  follows. 
vious  practice. 

Capital  letters  are  presented  according  to  their  appearance,  the  easiest  ones  first.  The  small  letters  accompany 
the  capitals,  many  of  which  are  similar  in  appearance  and  construction.  The  diminishing  form  of  the  capitals  not  only 
leads  to  more  practical  skill  in  capitals,  but  it  leads  also  to  excellence  in  small  letters. 

Form  and  movement  are  presented  together;  the  two  so  interwoven  that  one  can  scorcely  avoid  a  good  hand 
writing.  The  way  is  so  clear,  the  guide  boards  so  numerous  that  the  road  to  good  writing  is  about  as  plain  and  easy 
as  experience  and  effort  can  make  it. 

Movement  has  been  presented  in  its  simplest  and  most  practical  garb.  All  intricate  and  impractical  exercises 
and  forms  have  been  eliminated,  and  only  the  practical  and  progressive  presented. 

The  sentences  are  not  only  models  of  practicability,  but  they  contain  the  essence  of  common  sense  instruction 
and  information  relating  to  penmanship,  and  not  to  some  foreign  and  unrelated  thought  and  work.  The  sense  in  the 
sentence  helps  the  pupil  to  "slick  to  his  task"  by  keeping  his  mind  upon  it,  and  not  by  taking  it  away,  and  into  other 
channels. 


Sit  healthfully.     Watch  angle  of  paper.     Use  arm  movement  and  rolling,  rapid,  cominuous  motion.     200  doivn  strokes  a  minute. 


INSTRUCTIONS  FOR  PRACTICE. 

Aim  to  secure  uniformity  in  height,  in  spacing  between  down  strokes,  in  slant.  Aim  also  to  secure  a  uniform 
touch  of  the  pen  to  the  paper.  Quality  of  line  reveals  quality  of  movement.  Therefore  see  that  the  line  is  smooth 
an<l  graceful,  revealing  lightness  and  yet  firmness  of  touch,  and  a  free,  fiirly  rapid  arm  movement.  Sluggishness  of 
motion  is  as  bad  as  finger  motion.  Strike  out  boldly  from  the  start  and  continue  until  you  subdue  the  motion  by 
tiring  and  subduing  the  muscle.     Fill  page  upon  page  of  each  exercise  until  you  can  make  it  uniformly  well. 


Count.  1.2:  1 .  2:  1 .  2:  about  80  a  minute,  or  60  if  an  extra  motion  is  made  between  each  form.     Curve  sides  equally. 


<=>'^^C^j:^^///t/?/l€-rc/^un/0//y///rr/r/y 


^ 


MODEL    PRACTICE. 

This  plate  shows  how  to  practice  advantageously.  Nothing  so  encourages  improvement  as  systematic  practice 
providing  it  is  not  slow  practice.  Learn  to  secure  a  neat  general  eftect  and  arrangement  without  sacrificing  freedom. 
After  filling  one  or  more  pages  of  principle  9  or  the  direct  oval,  turn  the  paper  and  practice  crosswise  over  it.  and 
equally  systematic,  then  retrace  direct  oval.  Let  the  eye  be  the  guide  instead  of  blue  lines.  By  keeping  the  blotter 
upon  which  the  hand  glides  straight  with  the  paper,  it  will  be  quite  easy  to  keep  the  writing  straight. 


Use  pure,  rolling,  rapid  arm  movement.     Retrace  6  times.     Finish  like  0.     Curve  both  sides  equally.     Watch  spacing. 


Little  finger  slips  in  malting  capital:  rests  in  small  o.     Diminish  capital  gradually.     Use  arm  movement.     Close  letters  at  top. 


Oaac^aaoc.  a 


C? 27 C7- 


a. 


73 


<^X^  C/Ar  ^yy.  ^/^/-^^y^^^/-y///^^y/>i^/P//>y/^>/^  ^^^^ 


INSTRUCTIONS    FOR    PRACTICE. 

Use  pure  arm  movement  in  these  letters.  Employ  a  round,  graceful,  forceful,  free,  fairly  rapid  motion.  Little 
finger  may  rest  in  small  o  but  it  should  slip  freely  from  letter  to  letter.  Curve  both  sides  of  letters  equally  and  see 
that  slant  and  spacing  are  uniform. 

Keep  a  good  position  at  all  times.    Do  not  lean  against  chair  back,  nor  against  the  table. 


OO-OOa  (^o 


MODEL    PRACTICE. 

Right  practice  only  produces  improvement.  Therefore  be  careful  about  the  method  of  your  practice  so  as  to 
not  use  time  and  paper  without  profit.  Systematic  practice  means  careful  practice  and  eye  judgment.  Good  writing 
is  more  a  matter  of  eye  training  and  care  in  execution  than  anything  else.  Therefore  be  careful  how  you  practice. 
This  illustration  is  given  to  show  how. 


Think  of  each  letter  as  you  are  about  to  make  it.     Think  good  writing  until  good  writing  becomes  a  habit.     As  you  think  so  will  you  act. 


74 


Retrace  A  carefully  and  swing  freely  over  the  lop  whh  pure  ai-m  movement.     Make  down  stroke  straight  in  diminishing  exercise. 


Start  letters  leftward,  not  downward.     Slant  oval  of  small  a  more  than  of  capital.     Do  not  raise  pen  in  small  letter. 


^,^^  ^  ^    C^   ^      ^. 


^. 


INSTRUCTIONS    FOR    PRACTICE. 


Start  the  capital  with  a  free,  forceful  arm  movement,  the  motion  proceeding  from  and  centering  at  elbow.  The 
beginning  part  of  capital  should  extend  to  the  right  of  the  second  part  of  the  letter.  Retrace  second  part  and  finish 
with  a  gentle  curve  toward  the  right.  The  small  a  needs  to  be  begun  more  deliberately  than  the  capital,  with  the 
little  finger  slipping  less  freely  than  usual.  Close  the  small  letter  carefully,  and  make  the  second  downward  stroke 
straight. 


Good  writing  can  be  learned.     Care  is  the  secret.     Toil  is  the  tool.     Intelligent  practice  is  the  means.     Perseverance  imns. 


^ 


Make  about  200  down  strokes  a  mimde.     Pure  arm  movement.     Diminish  oval  gradually  and  therefore  carefully. 


Begin  the  letters  with  an  emphatic  dot;  curve  down  stroke  in  small  letter  less  than  in  capital.     Use  arm  movement. 


CCOCcc 


OC  o 


INSTRUCTIONS    FOR    PRACTICE. 

Use  a  circular,  quick  but  not  spasmodic  arm  movement.  Let  the  little  finger  slip  freely  in  the  capital,  and  from 
letter  to  letter  in  the  small  c.  Do  not  raise  pen  in  the  small  letters,  nor  in  joining  the  capital  to  the  small  letters. 
Diminish  capitals  uniformly  and  keep  small  letters  same  height.  End  carefully,  though  quickly.  Be  sure  to  make  dot 
of  small  letter  well  to  the  right  of  the  downward  stroke  so  as  to  keep  it  distinct  from  i.  Be  free  but  be  careful  at  all 
times.    Use  arm  movement. 

75 


Force  little  finger  to  slip  freely  toipard  the  right  in  going  from  letter  to  letter.     Use  fingers  but  little. 


Let  the  movement  continue  from  0  to  0  without  stopping  when  pen  is  off  paper.     Diminish  oval  exercise  gradually. 


Cyo-aaaocyo 


Begin  D  by  pulling  pen  toward  body  and  end  with  a  free,  rolling  motion.     Retrace  stem  of  d  carefully,  and  close  oval. 

INSTRUCTIONS    FOR    PRACTICE. 

Begin  both  letters  more  deliberately  than  you  finish  them.  End  capital  toward  the  right  so  as  to  join  easily  to 
small  letters.  Relax  muscles  of  the  arm  to  get  freedom,  but  restrain  them  at  the  same  time  to  get  form.  Learning 
to  write  is  therefore  both  a  matter  of  rela.\ation  and  restraint.  Too  much  relaxation  leads  to  looseness,  and  too 
much  restraint  leads  to  cramptness.     Avoid  the  two  extremes. 


Thinking  before  you  act  leads  to  excellence.     Watchfulness  of  spacing  between  letters  is  an  essential  quality  in  learning. 


.Sh^, 


-^^^^-^^^^^Z- 


e^fL<^^.<,^, 


Diminish  oval  exercise  uniformly.     See  that  arm  rolls  freely  in  the  B  tracer.     Use  pure  arm  movement. 


Make  E  with  two.  quick,  circular  motions  without  pausing  at  loop.     Keep  loop  of  e  open  by  curving  up  stroke  considerably. 


S  &  &<f:c^ 


INSTRUCTIONS    FOR    PRACTICE. 

Use  a  pure,  rolling  movement  in  the  capital,  and  a  semi-rolling  motion  in  the  small  letter.  Keep  small  loop  of 
capital  pointing  downward,  and  midway  between  the  top  and  bottom  of  the  letter.  Make  capital  and  small  letters 
without  raising  pen.  Always  loop  the  small  e,  and  never  fail  to  begin  the  capital  with  dot  or  small  loop.  See  how 
gently  and  smoothly  the  little  finger  can  jog  toward  the  right  in  making  the  small  letters. 

76 


<^^'^^^I^Xy^mi/J/lct<^mM/  ?//r//edi:/^/f^^ 


Look,  think,  act.     Study  the  form,  detennine  what  should  be  done,  practice  until  you  can  do  it  and  do  it  well. 


Keep  a  good  position.     Thmk  clearly  in  advance  what  you  wish  to  accomplish.     Make  P  tracer  in  two  parts. 


These  letters  resemble  reversed  d.     Retrace  both  carefully,  and  end  with  reverse  oval  closea.     Join  letters  without  raising  pen. 


INSTRUCTIONS    FOR    PRACTICE. 

Make  capital  with  in-and-out  movement  of  fore-arm  and  end  with  a  free,  reverse-oval  motion.  The  first  part  of 
small  letter  is  made  with  the  push-and-pull  motion,  ending  with  a  small  reverse-oval  motion:  both  letters  being  made 
much  the  same  except  the  capital  begins  with  the  pull  and  the  small  letter  with  the  push  motion.  Pause  with  pen 
on  paper  at  ending  of  the  small  letter.    Make  without  raising  the  pen. 


Use  a  free  arm  movement;  watch  turns,  angles,  loops,  and  spacing;  and  employ  an  elastic  action.     Be  systematic. 


■^      C^€^l^^L^e-'^L^i.^C-^C-^C'-l^ , 


:'..^.^:.^.^. 


Use  pure  arm  movement.     Make  B  tracer  in  three  parts,  the  straight  line  first.     Study  proportion.     Be  free  and  be  easy  in  action. 


Begin  capital  with  in-and-out  arm  movement;  end  with  reverse  oval  motion.     Pause  at  finish  ofb  and  make  loop  freely. 

/P /9 /S"  ^ /9 ^ /3  ^  ^  .SMM.-^3U//^ 

INSTRUCTIONS    FOR    PRACTICE. 

B  looks  like  Et  reversed.  Keep  small  loop  near  center  of  letter,  and  end  with  dot.  Retrace  first  part  at  least 
half  the  height  of  the  letter,  and  keep  loop  small.  Curve  up  stroke  of  b  considerably,  make  loop  full,  keep  crossing 
low;  finish  with  dot  or  smpU  blind  loop;  and  end  toward  the  right,  not  downward.  Use  a  steady,  non-spasmodic 
action,  and  develop  a  light,  smooth,  graceful  line.     Remember  that  quality  of  line  shows  quality  of  movement. 

77 


Heed  the  thought  and  study  the  forms  in  the  copy.     Use  a  free  arm  movement.     Fush  en  .he  upstrokes.     Persevere. 


Diminishing  exercises  tone  movement  and  increase  skill.     Think  clearly  and  quickly  concerning  finish  of  R  tracer.     Be  careful 


Make  R  without  raising  the  pen.     Slant  loop  upward.     Retrace  first  r  carefully,  and  pause  at  shoulder  of  second  r. 


INSTRUCTIONS    FOR    PRACTICE. 


See  how  clean  and  sharp  and  smooth  and  graceful  you  can  make  the  lines.  Good  pens,  ink,  and  paper;  a  free 
arm  movement:  and  a  light  touch  are  necessary.  See  that  you  have  the  first  and  that  you  develop  the  second  and 
third.  Movement  exercises  develop  lightness  of  touch,  and  retracing  forms  develop  sureness  and  evenness.  Move- 
ment exercises  are  as  necessary  to  good  penmanship  as  gymnastic  or  calisthenic  exercises  are  to  athletics  and  health. 


' '  We  learn  by  repetition. ' '     Write  and  re-ivrite  until  progress  is  shoivn.     Think  how  to  practice  advantageously. 


Curve  up  stroke.     Check  motion  at  base  without  raising  pen.     Space  carefully  in  first  exercise  and  retrace  carefully  in  tracer. 

/'J 


End  K  same  as  R.     Second  lialf  of  K  should  point  toward  the  right.     Do  not  raise  pen  in  small  letter. 


78 


INSTRUCTIONS    FOR    PRACTICE. 

Keep  first  down  stroke  of  K  quite  straight.  Start  second  part  leftward  not  downward,  and  end  toward  the  right. 
Checlv  the  motion  near  the  base  line  of  the  capital  in  joining  to  the  small  letters  so  as  to  keep  the  turn  narrow  as  in 
the  small  k.  Small  loop  or  top  of  second  part  of  k  should  be  quite  horizontal.  Keep  last  down  stroke  parallel  to  the 
first  and  make  narrower  than  h.    Use  a  free  arm  movement  at  all  times  with  slight  finger  action  in  loops. 


Writing  requires  skill,  therefore  training,  mental  and  physical.     A  nn  movement  is  difficult  to  acquire  but  easy  when  learned. 


Stop  firmly  on  base  line  with  first  part  of  H.     Begin  second  part  with  a  free  swing  toward  the  left. 
Begin  both  parts  of  H  the  same  as  K.     Make  down  strokes  parallel  in  both  capital  and  small  tetters.     Use  arm  movement. 

Y 2^ ?^ ?/ 7/- 7^  M  :^  7,aiAJjLP^XJML^ 

INSTRUCTIONS    FOR    PRACTICE. 

Keep  a  blotter  under  the  hand  so  as  to  keep  the  paper  clean  and  to  provide  a  nice  place  for  the  little  finger  to 
glide  upon.  Remember,  the  little  finger  should  glide  gently  toward  the  right  in  going  from  letter  to  letter.  It  should 
also  slip  up  and  down  in  making  loop  of  h,  unless  the  fingers  assist  in  forming  the  loop.  Watch  spacing  and  slant 
in  making  these  letters.  Finish  small  h  with  care  so  as  to  have  two  turns  in  the  second  part,  both  of  which  should 
be  the  same  in  size. 


Plainness,  rapidity,  ease,  neatness  are  the  essentials  of  good  writing.     See  hoiv  perfectly  you  can  acquire  and  practice  them. 
/y--z::'-z^'C^..^L^c^'-£^C^^/    /V-r?-Ji^;^'--ri-^--<s<i<;i't^'i^^^.'^  y)/--e'-<--cy^..yi...-ez.-^^^2^^^ 

Make  about  70  N's  a  minute.    Keep  top  rounding.    Retrace  bottom.    Diminish  exercise  gradually.     Use  arm  movement. 


79 


Make  N  without  raising  pen.     Keep  down  strokes  parallel  in  both  letters.     Finish  capital  with  a  graceful  turn  pointing  toward  the  right. 


7^?/?????^?^7,^^ 


INSTRUCTIONS    FOR    PRACTICE. 

Employ  a  graceful  arm  movement  upon  these  letters.  They  are  graceful  when  made  well,  and  they  are  compara- 
tively easy  to  make.  Narrower,  they  contain  the  principles  that  are  used  in  a  groat  many  letters  and  need  therefore 
to  be  mastered.  Stop  now  and  then  to  observe  your  position,  to  examine  the  forms  you  have  made,  and  to  determine 
what  to  do  to  improve.    Study  as  well  as  practice  is  necessary  for  the  best  results  in  the  shortest  time. 


To-day.  not  to  morrow,  is  the  time  to  use  arm  movement.     Watch  down  strokes.     Finish  words  carefully. 


Use  a  rapid  push-and-pull  motion,  making  down  stroke  straight  and  retracing  nearly  half  the  height.     Watch  spacing. 


Time,  1,2,3:1,2,3;  one  count  for  each  down  stroke.     Thirty-five  capitals  to  the  minute ;  sixty  small  letters  to  the  minute. 


//7    y^      //Z^'7<n^^y'yt,.''j-'y'i^  //C''7'■>'^^^^■->'^^.■■'>'7^^ 


INSTRUCTIONS    FOR    PRACTICE. 

Fore-arm  should  act  diagonally  in-and-out  of  the  sleeve  in  making  the  capitals.  Retrace  capitals  half  the  height. 
The  little  finger  should  slip  freely  up-and-down  in  making  the  capitals,  and  toward-the-right  in  the  small  letters. 
Make  down  strokes  straight  in  both  letters,  and  see  that  each  m  contains  four  turns  and  two  angles. 


Uniform  action  means  uniform  penmarjship.     Movement  exercises  reduce  unruly  motions  to  orderly  action.    Wide  spacing  also  aids. 


Keep  pen  moving  gracefully  in  this  exercise.     Push-and-pull.  twist-like,  pure  arm  movement.     Diminish  gradually. 


SO 


<:=x^  C^^/^?^^^^^  ,g^^2^^2/^//^^^/>/^/P//>y/^ 


///^ 


The  capital  and  small  v  are  much  the  same.     Both  are  made  with  an  easy  arm  movement,  and  finished  u/ilh  a  pause. 


?/-  2r2r  2^  7/-    2^ 


2^ 


INSTRUCTIONS    FOR    PRACTICE. 


The  letter  is  composed  of  two  turns  and  a  finish  in  the  form  of  a  blind  loop  or  dot,  which  should  finish  high. 
Connect  small  letter  with  horizontal  straight  line.  Little  finger  should  slip  freely  from  letter  to  letter.  Always  aim 
to  have  the  little  finger  glide  toward  the  right  in  going  from  one  letter  to  another. 


Use  either  y  to  end  words,  and  either  style  of  V.     Write  gracefully.     Sit  healthfully.     Use  good  pens,  paper,  and  ink. 


Employ,  quick,  elastic,  in-and  out  arm  movement.     Finish  each  letter  with  a  pause  and  carefully.     Watch  spacmg. 


Begin  and  end  W  the  same  as  V.     Pause  in  finishing  ooth  letters.     Use  a  quick,  elastic  arm  movement. 


/ 


Z^  z^  ^ 


Z^ 


INSTRUCTIONS    FOR    PRACTICE. 

Finish  both  letters  rather  high  and  toward  the  right.  Avoid  finishing  either  form  with  an  open  or  large  loop. 
This  is  to  insure  legibility.  Use  a  lively,  elastic  action,  no  finger  motion  being  necessary  unless  it  is  in  the  finish, 
and  then  in  the  form  of  slight  pen  pressure.  Practice  page  after  page  with  watchful  care.  Time  and  toil  are  both 
essential  to  success — to  lasting  success.    Writing  is  too  valuable  to  be  lightly  won  and  too  lasting  to  be  quickly  gotten. 


Grace  in  action  insures  ease  as  well  as  excellence  in  execution.     Movement  exercises  develop  gracefulness. 


CyCyLyL'C'Ci.^^.-t^<.y'--t^---C<i^L^^  i 


^  (^yi^ci^'<-'£-;^^i.-^t--^c~^  c 


Use  rapid  push-and-pull  arm  movement.     Watch  spacing  in  and  between  u's,     Use  good  pens,  ink  and  paper. 


81 


<==>^^^Ac/7/?/f/?//.ric?>uu/'M^ 


Begin  U  same  as  N:  end  same  as  A .     Make  second  part  sharp.     Keep  u  sharp  at  top;  rounding  at  base.     Use  easy  action. 


^<  2{  2{  1^ 


INSTRUCTIONS    FOR    PRACTICE. 

Slant  down  strokes  of  both  letters  the  same.  Use  an  easy,  graceful,  semi-rolling  arm  movement  in  both  capital 
and  small  letter.  Ease  of  action — neither  sluggish  nor  spasmodic — is  the  true  method  of  practice.  Slow  writing  is 
lifeless  and  exhausting  in  patience;  reckless,  uncontrolled  speed  is  demoralizing  to  form.    A  happy  medium  is  best. 


Think  and  uiatch  form  while  writing.     Employ  head  as  we!!  as  hand.     Use  eye  as  we!!  as  musde. 


CC-d^^^  ^ 


Keep  both  exercises  sharp  at  top,  rounding  at  base,  down  strokes  straiglit,  up  strokes  curved.     Arm  movement. 


Each  tetter  should  contain  two  turns,  one  angle,  and  one  loop.     Cross  on  base  line.     Use  a  free,  forceful  arm  movement. 


INSTRUCTIONS    FOR    PRACTICE. 

The  capital  and  small  letters  are  much  the  same  in  construction  and  therefore  in  movement.  See  that  the  arm 
acts  like  a  pivot  or  hinge  in  making  the  long,  diagonal  down  stroke,  and  in  the  last  up  stroke.  Loop  should  be 
crossed  on  base  line,  not  below,  with  turn  at  bottom. 


Poor  writing  is  like  muttering  speech — a  disgrace.     Be  unmistakable.     You  should  also  be  neat  and  systematic.     Be  free  in  movement. 


<=>'^^C^^y^/m/?/lrt6m/:n/'J//^Mrr/^/J/i'^^/^P^^^ 


Time  1,2;  1,2;  1 ,  2;  one  form  a  second.     Accent  2  in  first  and  1  in  second  form.     Dotvn  stroke  strai^. 


Drive  arm  out  sleeve  to  start  J;  push-and-pul!  movement.     Make  down  stroke  nearly  straight  m  both  letters. 


INSTRUCTIONS    FOR    PRACTICE. 

The  J  is  a  long  letter,  but  not  a  difficult  one. .  Crossings  should  be  on  the  base  line.  Lower  loop  should  be 
smaller  than  the  upper.  Keep  crossings  of  small  j  on  the  line  also.  Be  careful  to  place  dot  just  above  the  letter. 
Use  tore-arm  motion;  the  elbow  acting  like  hinge.  Little  or  no  finger  movement  is  necessary.  Use  a  lively,  graceful 
action  and  the  forms  will  be  'raceful  and  good. 


Up  strokes  are  longer  and  more  graceful  than  down  strokes,  and  made  more  freely.     Equal  spacing  between  all  letters. 


Swing  freely  from  the  start,  checking  movement  only  after  having  retraced  each  from  six  to  ten  times.     Keep  form  clearly  in  mind. 


Start  1  with  free  outward  movement  of  arm.     Make  i  shaip  at  top;  rounding  at  base.     Dot  it  carefully. 


JJJJJJJJJ^J^ 


INSTRUCTIONS    FOR    PRACTICE. 

Use  semi-rolling  motion  in  making  the  capital.  Keep  top  of  I  narrow  or  it  may  resemble  L  when  joined  to  small 
letters.  Keep  down  stroke  of  i  straight.  Use  a  free,  gliding  movement  in  small  letters.  Keep  a  good  position,  sitting 
nearly  erect  with  spine  straight.    Watch  angle  of  pen  and  paper,  and  use  good  materials — pens,  ink,  and  paper. 

83 


Watchfulness  of  details,  and  practice  upon  movement  exercises,  will  produce  improvement  end  make  you  a  good  penman. 


Learn  to  make  ovals  equally  well  either  way  around.     Use  graceful  compound  movement  in  X  exercise. 


Make  X  with  semi-rolling  arm  motion;  curving  sides  equally.     Small  x  curved  less  than  capital,  but  much  like  it. 


INSTRUCTIONS    FOR    PRACTICE. 

Review  direct  and  indirect  oval  exercises  preliminary  to  tlie  practice  on  ttie  capital  X,  using  a  tree,  graceful  action 
throughout.  Diminish  the  letter  gradually.  Ijeginning  quite  large.  Review  principles  5  and  4  before  beginning  prac- 
tice upon  the  small  x.   Both  parts  in  both  letters  should  touch  gently  and  retrace  at  least  a  short  distance. 


Generate  enough  power  to  cany  the  pen  from  ivord  to  word  across  the  page  with  ease  and  freedom.     Be  watchful,  too. 
Notice  that  the  oval  exercise  ends  with  a  reverse  loop.     Use  lively  motion  in  the  retraced  Z.     Keep  loop  small. 


The  capital  and  small  z  are  nearly  alike.     What  is  the  differenceF    Small  2  has  but  one  loop.     Use  arm  movement. 


84 


<:x^  (:^A/7^/?n/?//err??un/-^^^^  ^^^k^ 


INSTRUCTIONS    FOR    PRACTfCE. 

Down  strokes  in  capital  are  curved  the  same.  Loop  in  small  letter  is  the  same  as  ii,  capital  except  a  trifle  smaller. 
First  down  stroke  in  small  z  should  be  straight,  the  same  as  in  n.  Crossing  in  both  letters  should  be  on  base  line. 
Make  the  capital  and  small  letters  freely  and  without  raising  the  pen. 


Enthusiasm  and  love  for  excellence,  make  practice  pleasant  and  work  profitable.     Use  free  arm  movement  and  sit  healthfully. 


-f^...-'^L.-t-^^^'-^T^.-Z^^-C''z^^ 


Practice  large  and  small  compound  curve  tracers  with  a  free,  graceful  arm  movement,  crossing  in  the  center. 


Viis  capital  resembles  Z  and  L.     The  small  q  resembles  a  and  f.     Loop  in  Q  should  be  horizontal.     Both  end  the  same. 


,=:>^^  .=,:,^  ,=:,Zy    -^^^   <=^     —^       -=2- 


J^ 


^h-jTTT  ■^^rrrrr 


INSTRUCTIONS    FOR    PRACTICE. 

Begin  capital  Q  with  a  rolling  motion  but  merge  it  into  a  restricted,  horizontal  gliding  movement.  Begin  the 
small  q  carefully  with  a  restricted  arm  and  hand  motion,  but  end  it  freely  the  same  as  the  capital.  The  little  finger 
need  not  slip  in  the  a  part  of  q.     Diminish  capital  gradually,  ending  with  a  good  Q  or  figure  2. 


Movement  exercises  and  wide  spacing  between  letters  aid  in  overcoming  unruly  and  uncontrolled  action. 


Use  a  free  and  tuAst-like  or  diagonal  arm  movement.     Make  loop  small  and  horizontal  in  L. 


Employ  a  graceful  movement  in  L  and  a  slightly  rolling  action  in  the  small  I.     Keep  loop  of  capital  small. 


85 


INSTRUCTIONS   FOR    PRACTICE. 

To  make  tbe  L  successfully,  one  must  perceive  it  clearly.  It  is  composed  of  two  compouml-curves,  and  they  de 
niand  grace  of  action  to  execute  siiccessfully.  Begin  the  letter  like  C  and  E  and  end  like  Q.  The  small  I  needs  to  be 
made  full  with  the  crossing  low;  therefore  curve  up  stroke  considerably  and  down  stroke  but  little.  Loop  of  capital 
needs  to  be  small  or  it  resembles  S. 


Rapid,  legible  vriling  is  in  demand.     Meet  ii  by  practicing  faithfully  upon  exercises  end  watching  turns  and  angles. 


Use  a  graceful,  twist-like  arm  movement  in  double  loop  exercise.     Keip  crossing  low  in  S  and  divide  oval  equally. 


See  how  gradually  you  can  diminish  the  capitals,  and  merge  them  into  small  letters,  as  they  are  much  the  same. 


INSTRUCTIONS    FOR    PRACTICE. 

Both  letters  begin  and  end  the  same.  Use  a  rocking-lilce  motion  for  the  lower  part  of  the  capital  and  for  the  small 
letter.  Begin  and  make  the  upper  part  of  the  capital  the  same  as  small  I,  ending  like  capital  I.  The  little  finger 
should  slip  or  glide  more  freely  in  the  small  letter  s  than  in  most  small  letters.  Use  a  graceful  arm  movement  in  both. 


Simple  forms,  easy  movements,  and  movement  exercises  develop  speed  and  plainness.     Use  a  gliding  action  in  sentences. 


Use  semi-rolling  movement  in  exercise.     Make  down  strokes  of  G  parallel.     Keep  crossing  low.     Use  easy  motion. 


Begin  G  like  I  and  S  and  end  on  base  line  with  straight  line.     Begin  g  like  a  and  end  like  i.     Use  an  easy,  arm  motion. 


86 


<::X^  (:^/u/7/??i  ^/lrrc/^^(u/ 'J//f/A'^r/r/j9//^fr //'/(// /^j' ^^^"^^ 


INSTRUCTIONS    FOR    PRACTICE. 

Let  the  fore-arm  swing  freely  from  the  elbow  in  beginning  the  capital  and  in  ending  the  small  letter.  Loop  of 
capital  is  a  trifle  more  rounding  than  that  of  the  small  letter.  Close  small  g  at  top  and  cross  loop  on  base  line.  Lower 
loops  to  be  attractive  and  harmonious  should  be  the  same  size  as  upper  loops,  but  for  mere  legibility  they  may  be 
small. 


Earn  a  good  hand  writing  and  it  will  earn  for  you  in  return  a  good  position,  and  help  you  to  keep  it. 


Ci^^ 


Make  stem  exercise  at  rate  of  one  a  second.    Pause  at  the  dot  or  finish  of  the  stem,  and  cunx  down  stroke  nicely. 


Make  top  of  T  horizontal.     Do  not  raise  pen  at  angle.     Retrace  top  oft  carefully.     Each  t  contains  an  i. 


jz    .^.Z^f^^t^t^lzi^  .^.^tzt^i-zl^ztzt, 


INSTRUCTIONS    FOR    PRACTICE. 

Avoid  curving  top  of  T  much  or  looping  it  at  the  angle.  Make  first  stroke  long  or  it  may  resemble  J  or  I.  Make 
small  letter  without  raising  pen  except  to  cross  it.  Some  finger  action  i?  admissable  in  the  small  letter,  but  only  in 
a  minor  manner.     See  that  little  finger  glicies  to  the  right  in  going  from  letter  to  letter. 


Good  writing  is  the  result  of  toil.     It  takes  true  wcrth  to  get  it.     Movement  exercises  help  to  acquire  it. 


Make  100  down  strokes  a  minute,  and  60  stems.     Use  graceful,  arm  movement  at  all  times. 


Make  horizontal  strokes  parallel  and  straight.     Keep  both  loops  in  f  same  size  and  see  that  each  f  contains  an  i. 


87 


INSTRUCTIONS    FOR    PRACTICE. 

The  F  is  the  same  as  T  with  a  cross  at  the  center.  See  how  graceful  you  can  make  the  down  stroke.  The  small 
f  is  a  eoml)ination  of  I  and  q.  The  upper  loop  should  cross  at  height  of  I  and  the  lower  one  should  close  at  the  base 
line.  Use  hinge  and  in-and-out  movement  for  this  letter.  Some  linger  movement  is  not  objectionable,  but  finger 
action  should  never  be  the  primary  motion. 


Firmness  and  sureness  make  writing  business  like.     Learn  to  push  rather  than  drag  the  pen. 


c^ 


Swing  gracefully  from  H  to  i-i.     Think  quickly  in  the  E  exercise,  making  about  80  a  minute.     Keep  central  loop  small. 


Make  down  <ityokes  firmly.     Little  finger  need  not  slip.     Fingers  may  aid  arm.     7  and  9  extend  below  line. 

/////// l/-i^i^itll/^  ^  t^  l  l  l  l^  It,  ff^^f^^/yyyyyy 

INSTRUCTIONS    FOR    PRACTICE. 

The  little  finger  should  serve  as  the  center  of  control  in  the  execution  of  figures.  Be  sure.  Be  firm.  Be  quick. 
Be  neat.  Be  systematic.  Figures  are  used  more  and  more,  and  each  year  in  this  commercial  era,  they  mean  more 
and  more.  fJreat  accuracy  in  their  use  and  meaning  is  therefore  necessary.  Meet  the  need  by  doing  good  work 
nuirkly.     Now  is  the  time  to  learn. 


Study  and  practice  are  the  keys  which  unlock  the  door  to  good  ivriting.     Be  enthusiastic  and  persevering. 


Notice  similarity.     The  8  is  a  reversed  S.  and  its  finish  may  extend  above  as  6.     Be  sure.     Be  plain.  Be  quick. 

2  Z  2  Z  2  ^   3  3  3  3  3  3  3   S  ^  ^3  3  ^  ^   r^^'rrS^S^'^  ^  ^  <^  ^^ 


Be  in  love  with  your  work.     Use  your  brain  to  direct  your  hand.     Success  will  follow.     Use  arm  movement. 


<=X^  d^  ^//n'(///r/^f/?un/J//^///rr/U^/9^y^J^^^ 


Make  figures  in  columns  by  thinking  of  columns  so  they  may  be  added  quickly  and  correctly.    Be  neat  and  plain. 


13  J  ^ 
0  3^/ 


5"  "7  ^   Z 
/   J  ^  0 

S  2   3  / 


7  3    /  J 
^  Z  O  ¥ 

5-320 


/  Z  3   i-/- 

^  L  7  y 

'?  o  /   z 


3  5'  7  f      /  Z  3 

z  ¥  L  y   i^s  L 
o  3  5  y   J  y^ 


INSTRUCTIONS    FOR    PRACTICE. 


The  essential  of  writing  is  to  write  straight  across  th3  page.  In  figures,  the  essential  is  to  make  them  in  col- 
umns, even  though  there  are  no  vertical  rules  to  guide.  Learn,  therefore,  to  make  figures  vertically  one  beneath  an- 
other. This  aids  greatly  in  rapid,  accurate  adding.  Plainness,  quickness,  and  vertical  columns  are  the  trinity  of  es- 
sentials in  figure  making.     See  how  expert  you  can  become  in  the  making  of  fi.gures! 


Watch  height  of  short  and  slant  of  extended  Utters,  and  spacing  between  letters  and  words.     Use  gliding  arm  movement. 


Use  fingers  as  well  as  arm.      The  characters  stand  for  cents,  dollars,  per  cent,  in  care  of,  and  account. 

^^^^^  /////  7"-  Yo  y^o  o/o   yo  yo  y.  y.    «/c.  ^o.  «/c.  y/^ 


Compare  your  writing  now  with  that  when  you  began.     Have  you  improved.'     Wherein  can  you  see  to  improve  still  more.' 


SJ) 


PART    EIGHT    OR    BOOK    EIGHT 

Comprises  exercises,  sentences,  proper  names  and  addresses,  joining  of  capitals,  rules  for  spacing,  variety  of 
hands,  business  forms,  a  complete  letter,  and  practical  lettering  alphabets.  Each  copy  is  accompanied  by  terse,  prac- 
tical instructions  for  pupil  and  teacher. 

Part  Eight  or  Book  Eight  should  not  be  attempted  or  practiced  until  Parts  Five,  Six,  and  Seven  have  been  thor- 
oughly studied  and  practiced  by  both  teacher  and  pupil,  as  the  work  therein  leads  up  to  that  contained  In  this  part. 

The  work  in  Part  Eight  is  in  part  a  review  and  resume  of  previous  work,  as  well  as  an  advance  in  the  direction 
of  actual   business  writing,  ending,  as  it  does,  with  business  forms  and  letter  writing. 

The  examples  of  lettering  are  the  embodiment  of  simplicity,  plainness,  ease,  rapidity,  and  praoticability.  No  one 
need  to  despair  of  lettering  plainly,  neatly,  and  rapidly  if  they  will  but  follow  carefully  the  instructions. 

The  work  in  this  and  the  previous  parts  has  been  so  thoroughly  planned  and  explicitly  presented  in  copies  and 
instructions  that  no  one  need  go  further  for  a  good  hand  writing.     Follow  the  instructions  and  all  will  be  well. 


Use  pure  arm  movement.     Make  about  200  down  strokes  a  minute.     Watch  spacing  between  down  strokes  only. 


Use  a  free  motion  but  watch  form  closely  by  watching  turns,  angles,  refaces.  loops,  slant,  spacing,  height,  and  up  and  down  strokes. 


Use  a  rapid,  semi-rolling,  pure  arm  movement.     Make  turns  rounding,  ang'es  shiirp,  and  doMn  stroke^  straight. 


Movement,  movement,  movement  is  the  key  to  good  writing.     Form,  form,  form  is  the  key  to  good  writing. 


Diminish  exercise  carefully— patiently— skillfully— gradually.     It  gives  quantity  and  quality  of  action,  as  well  as  control. 


90 


<=X^  d^^  ^//^^/^?lcrrm£n/^7yicM^l^^^/S^6^/'?r//?^^^^ 


Use  an  easy,  gliding  arm  movement  at  all  times.     Watch  height,  spacing,  slant  and  quality  of  line.     Watch  position. 


6^ --<i^^;^^5=Z'''^^-^--<:i'2>^?''Z'<^ 


Begin  second  part  of  K  with  a  free,  forceful  swing,  starting  toward  the  left.     Keep  turn  narrow  at  base  line. 


Know  good  writing,  practice  faithfully,  read  good  books,  think  good  thoughts,  and  your  services  uAll  be  in  demand. 


/L<^-^--c>^'^>':-z^,-<s^:-^Z-«2^<;:^>^'-^-^^^ 


<se-'l-<e-^. 


This  is  the  penman's  favorite  exercise.     See  how  gracefully  and  well  you  can  execute  it.     Space  widely  for  the  H. 


Use  a  quick,  graceful,  circular  and  gliding  arm  movement  in  first  part  of  H.     It  makes  a  good  exercise  for  practice. 

Use  the  fingers  but  little  even  in  extended  letters.     Make  hops  same  in  size,  rounding  at  ends,  and  short.  ! 


r^ 


(Z.^X^Zik..'7^'L.-<::^:^^''e:::^  ^  i:^. 


INSTRUCTIONS    FOR    PRACTICE. 


--ii^-^^Z^S^t^^f^^. 


The  slant  of  the  extended  letters  is  more  important  than  their  height.  If  they  vary  in  slant  it  is  much  more 
noticeable  than  if  they  vary  in  height.  Short  letters  should  conform  to  long  ones  in  slant.  Therefore  make  the 
short  letters  on  the  same  slant  as  the  tall  ones  and  the  result  will  be  pleasing  as  well  as  practical. 

91 


Pause  in  finishing  B.     Retrace  or  raise  pen  as  you  may  prefer  and  can  do  best,  easiest  and  quickest. 


Note  difference  in  proportion  of  letters,     Change  the  motion  to  suit.     One  style  aids  in  acquiring  another.     Which  do  you  'ike  best? 


''(p-y-T-yT-'eL 


INSTRUCTIONS    FOR    PRACTICE. 

One  hand  or  style  naturally  aids  another.  Learn  one  hand  and  you  will  have  the  key  to  any  other.  As  it  is  some- 
times necessary  to  write  a  long  name  in  a  short  space,  it  behooves  one  to  l)e  able  to  write  a  condensed  or  narrow 
hand.  At  other  times  the  ruling  may  be  narrow  and  the  space  long,  in  which  case  a  wide  or  running  hand  is  desirable. 
Then,  too,  some  people  naturally  write  tall,  and  others  wide,  and  each  the  better  by  such  variation.  Good  writing 
does  not  necessarily  mean  any  one  jiarticular  hand. 


Uniformity  in  letters  is  secured  by  uniformity  of  motion  and  close  obseivation.     Movement  exercises  lead  to  uniform  action. 


c-?^^ 


'_^<d-<^^^^,.£^, . 


^^^^^C'i^-^t'l'T-.-df _ 


INSTRUCTIONS    FOR    PRACTICE. 


An  easy  arm  action  uniforms  the  height  letters  and  gives  them  grace.  Do  not  make  angular  turns  in  one  letter 
and  rounding  turns  elsewhere  in  the  same  letter  or  in  another  on  the  same  pa.ge.  All  turns  should  be  equally  rounding 
and  all  angles  equally  sharp  or  acute.  Uniformity  in  action  insures  uniformity  in  writing.  Exercises  develop  uni- 
form, non-spasmodic  action. 


Pause  at  top  of  C  and  E.     Use  graceful,  arm  movement  in  g.     Finish  A  with  curve  pointing  toward  the  right. 


Keep  first  bop  of  D  small  and  on  base  line.     Finish  D  quickly  with  a  circular  arm  movement. 


92 


Watchfulness  of  details,  of  common  errors,  and  of  movement  used,  leads  to  excellence.     Study  the  thought  as  well  as  the  form  of  the  sentence. 


INSTRUCTIONS    FOR    PRACTICE. 


The  spacing  between  words  should  not  be  so  close  that  two  words  will  appear  as  one.  nor  so  wide  that  a  letter 
or  word  appears  to  have  been  omitted.  Let  the  eye  learn  to  space,  and  then  you  will  always  have  a  rule  with  you. 
Be  as  careful  about  the  ending  of  words  as  about  the  beginning.  Watch  details,  and  d'^fects  will  disappear.  Use  a 
free  arm  movement  at  all  times. 


Use  an  easy,  graceful  arm  movement  in  V  and  W,  and  a  gliding  arm  motion  in  the  small  letters.     ]Vatch  spacing. 


If  preferred,  pen  may  be  raised  in  R  instead  of  retracing.    Keep  finish  of  P  high  so  it  does  not  resemble  R. 


Learn  to  be  yourself.     Be  self  reliant.     Improve  your  writing  by  taking  pride  in  it,  and  by  making  it  your  own. 


INSTRUCTIONS    FOR    PRACTICE. 

Be  particular  about  the  details  of  your  writing.  No  other  one  thing  will  cause  it  to  improve  as  much.  Concern 
yourself  with  excellence  rather  than  with  peculiarity  or  individuality,  as  the  latter  will  assert  itself  all  unconsciously 
in  due  course  of  time.  Keep  down  strokes  nearly  straight  and  parallel  Use  arm  movement  to  secure  grace  and 
freedom.     Review  movement  exercises  frequently.     Keep  a  healthful  position. 

98 


<=>^cy^ut^)yyi(/Mrrrm£n/0//r/^^^^^^^^^ 


Use  in-and-out  arm  movement  in  M's;  gliding,  fore-arm  movement  iti  small  letters.     Watch  spacing  between  tetters. 


Pause  at  finish  of  G.  but  do  not  raise  pen  in  writing  the  names.     Use  rocking-like  arm  action  in  the  G's. 


Keep  sleeve  loose  at  elbow.     Watch  spacing  between  words.     Use  gliding  motion  and  arm  movement. 


-<S-<^<2--£-^ 


INSTRUCTIONS    FOR    PRACTICE. 


Be  sure  you  aim  right  in  your  practice.  Have  sometliing  in  mind  tliat  you  desire  to  accomplish,  and  sticlc  to  it 
until  you  succeed.  If  your  writing  lacks  ease  and  freedom:  then  think  freedom  and  ease  and  win  them  by  persistent 
review  upon  exercises.  If  it  is  form  that  you  need;  then  think  form,  criticise  closely,  and  observe  details.  Be  en- 
thusiastic over  writing  because  of  its  utility  or  beauty.     Then  work  will  seem  like  play. 


Watch  slant  of  down  strokes  to  keep  them  uniform.     Use  an  easy  movement  at  all  times.     Be  careful  and  systematic. 


Use  a  free,  forceful,  fore-arm  movement  tj  connect  tellers,  and  to  propel  the  pen  across  the  page.     Waich  spacing. 


Keep  letters  unifom!  in  height  by  using  a  free,  graceful,  gliding  arm  movement— free  from  left  to  right. 


1 


94 


<=x^  ry/io/7/?n  ^/r/y//^^/?/i2^/^/^^/^/^^^<?^>y^^y. 


7^/r/ 


'7 


INSTRUCTIONS    FOR    PRACTICE. 

Never  before  has  good  writing  been  so  mucli  in  demand.  No  other  one  thing  serves  so  well  as  a  stepping  stone 
to  something  better.  Coupled  with  spelling  and  figures,  good  writing  is  a  valuable  acquisition,  and  easily  within  the 
reach  of  all  who  will  but  study  and  practice  in  the  right  manner — as  herein  illustrated  and  explained. 


"Rapid  writing  is  voiuabie   slow  writing  is  dead  ' .     See  how  much  life  you  can  put  into  your  writing  by  using  arm  movement. 


Daintiness  in  writing  means  a  refined  quality    not  a  bad  thing  to  possess  for  occasional  needs.     See  how  freely  and  daintily  you  can  write. 


,,^<y^^y>^T^^!:t...<^^<^. 


Let  the  hand  and  arm  rock  or  roll  slightly  in  this  rounaing  style.     Curve  the  up  strokes  considerably.     Use  arm  movement. 


^yt>~^-^  ^,-oc^c-ci.-/  ayx.xx^c.C'^l^cA^yZ^, 


INSTRUCTIONS    FOR    PRACTICE. 


People  differ  in  other  things,  why  not  in  penmanship?  There  is  no  objection  to  this  slight  difference  so  long  as 
the  writing  is  perfectly  plain  to  all.  rapid  and  easy  in  execution.  Individuality  cannot  be  taught,  but  it  may  be  guided 
into  proper  channels  as  it  manifests  itself  unconsciously  to  the  pupil.  It  is  better  to  thus  modify  it  under  intelligent 
criticism  than  to  allow  it  to  develop  into  strange  and  peculiar  styles.  Then.  too.  by  practicing  the  different  styles  here 
given,  the  hand  is  caused  to  act  somewhat  out  of  accustomed  channels  and  in  so  doing  acquires  slcill  not  possible  in 
any  other  way.  The  writer  after  practicing  thus  for  a  short  time  can  resume  his  regular  style  with  increased  skill 
and  effectiveness,  writing  it  better  and  easier. 


Push  the  pen  firmly  toward  the   right  in  making  the  up  strokes.     Make  turns  narrow.     Watch  spacing.     Write  freely. 


— .--^-^^-<^--y-z_-^ 


<=>^(^yu^^/////?/li?i'€nwn/9^^ 


Note  location  of  salutation.     School  the  eye  to  spacing.     Accustom  the  hand  to  graceful  action.     Review  exercises  frequently. 


^,  /^C'C 


■^-i^  yLe^  — 


INSTRUCTIONS    FOR    PRACTICE. 

See  that  the  general  effect  of  your  writing  is  good  by  seeing,  1st,  that  it  is  neat  in  appearance,  2nd,  that  it  is 
orderly  in  arrangement,  and  3rd.  that  it  is  .graceful.  The  first  cnmes  by  care;  the  second,  by  observation;  and  the 
third,  by  sldUful  practice.  Use  arm  niovemont  as  a  basis  of  execution  as  it  is  the  secret  and  source  of  graceful,  easy, 
rapid,   successful   writing.     Watch   spacing   between  letters  and  words,  and  keep  margins  straight. 


One  of  many  forms  of  closing  a  letter.     Be  careful  in  all  of  your  writing.     Use  arm  movement.     Practice  exercises  often. 


i?>7--Z,-«?i^ 


C^--(7-Z^cA^  ,.^C^^L^C--C.^C-TY  , 


U/^A^-'y^^'Z'^^^-'^^ 


INSTRUCTIONS    FOR    PRACTICE. 


It  has  been  said  that  "order  is  Heaven's  first  law."  If  this  be  so,  we  have  one  good  reason  to  believe  that  order 
in  writing  is  a  virtue  not  to  be  ignored.  We  do  know,  however,  that  system  is  the  first  law  of  doing  and  recording 
business  as  it  is  done  today.  You  will  therefore  do  well  to  begin  now  to  form  habits  that  are  systematic.  Writing  is 
an  excellent  art  to  display  such  ability.  It  pleases  the  business  man  to  see  an  orderly  handwriting.  Do  you  wish  to 
succeed?    Then  learn  to  be  systematic  in  your  writing. 

96 


Study  an  angement.      Train  the  eye  to  see  and  the  mind  to  judge  /a^ 

space.     Exercise  care.     Use  a  free  arm  movement. 


A^£z.yu<^A^/  c^  /^(pL 


/Yi:i^^i.-Ji^u<-<--'-c^c^ 


^-J-z:^^-t:>-A<=/ 


Keep  margins  straight.     Note  beginning  of  paragraphs.     Be 

careful  about  punctuation.     Watch  spacing  between  words. 

Be  neat  but  not  slow  or  labored  in  execution.      Write 

plainly.     Be  neat,  systematic,  and  sure. 


97 


<=>'^^(^&^rm/?/lri'^^/iru/J//r///r,/^/y/1^//y/^//y/////^^ 


INSTRUCTIONS    FOR    PRACTICE. 

Letter  writing  is  an  art  no  one  should  be  ignorant  of.  Aluru  letters  are  written  today  than  ever  in  the  world's 
history.  Letters  are  of  more  importance  than  they  have  ever  been,  containing  as  they  do  more  important  orders  for 
goods,  more  explicit  instructions  for  various  lines  of  endeavor  in  art.  in  science,  in  commerce,  and  in  matters  pertain- 
ing to  peace  and  war.  You  will  therefore  make  no  mistake  by  studying  the  art  of  writing  letters.  The  first  requisite 
in  letter  writing  is  to  say  exactly  what  you  wish,  and  in  good  English.  The  second  requisite  is  good  form  which  in- 
volves arrangement  and  penmanship. 

To  secure  good  arrangement  and  good  writing,  you  must  study  spaces  and  use  a  free  movement. 


Study  arrangement.     Note  punctuation,  capitalizat'on,  and  abbreviation.     Use  a  free  arm  movement  at  all  times. 


C-^-^p-c-e^''^'  ,^^^--'(::i^^ly'-T7-y    <^Tf-^ 


INSTRUCTIONS    FOR    PRACTICE. 


All  capitals  should  be  the  same  in  height.  All  loop  letters  should  be  uniform  in  slant.  The  minimum  letters 
should  be  regular  in  size.  Think  of  the  principles  contained  in  each  letter  as  you  are  about  to  execute  it.  Watch 
spacing  between  letters  and  words.  Be  careful  to  make  a  distinction  between  commas  and  periods.  See  how  neatly 
and  how  orderly  you  can  write  the  beginning  of  the  accompanying  letter. 


A  common  Form  of  Receipt.    Study  Us  arrangement.    Punctuate  carefully.     Use  arm  movement.     Watch  spacing  between  letters  and  words. 

^ . ~,/9^:PH^/.:^^.yUU- 


/6-t.'?-T.-£-'ZZ^-'j--t.^^  a^^j'T-'C^ 


i,a/ 


v^< 


.=M^. 


98 


<=>^^C^^^2m?/?/Ui^€9?U/l/^/l£//^Yi^<^/9?^ 


Common  Fonn  of  Note.     Use  the  eye  and  exercise  the  judgment  in  such  writing.     Be  careful  and  sure,  yet  free  in  execution. 


a 


A  Due  Bil.     Vtere  aye  many  kinds.     Learn  to  ivrite  this  one  ivetl.     Use  a  graceful  movtment.     Practice  upon  exercises. 


'/^j 


L-'^-'i^^'ii^^-^L^-^-.^-ti-^^^-^/^^^/^   u/^^;^Z-y.   V^  /f(7S^ 


<^-jy-i^£ci.A,<iy 


-^  ^Q^A^^^^-Cc^ 


99 


<==X^  C^^y/^/^^^'^y^/r/^/-2^//y^^r/^//;^^P/^>y^^y^  "^^x^- 


A  Simple  Form  0/  Account.     Learn  lo  rule  neatly  and  accurately.     Make  all  fibres  plain.     Use  an  easy  movement  at  all  times. 


2^4^(f:,^^ 


C2^^t.^^e^ci^-?^L^,  ^y^-^/  /^£i^  s^  /fo  c> 


':='47- 


.B^. 


C/3  cl<-^.  ?9^  7^  2f  /3r^:^A<^(^  f6>^ 


srs" 


4^y 


Common  Form  of  Check.    Note  difference  in  size  of  script.     See  ho 


■ecute  it.     Persevere. 


C-<'4i'i:^Oriz..yx^  f^Jc-(^^  /TZi^t-^.  ^y  /^tPS". 


///^^■^ 


INSTRUCTIONS    FOR    PRACTICE. 


Review  exercises  frequently.  They  make  writing  better  and  easier.  Watch  details.  Have  someone  criticise 
your  penmanship.  Others  will  see  faults  which  escape  you.  Exercise  care  at  all  times.  Never  scribble.  Always  do 
your  best.  Writing  is  too  valuable  an  art  to  be  neglectful  of.  It  is  always  speaking  for  or  against  you.  Make  it  of 
such  character  that  it  will  always  be  tor  and  not  against  you. 


100 


SimpU,  Rapid,  Practical,  Single-stroke  Lettering. 
abcdefghijklmnopqrstuvuu)<.L/z  


/23i^4-so/S(jo —     hnmuLfULfyii^ 

A3CDEFGHIJKLMN0PQR5TUVWXYZ6c./iqKmn.UUUJll5 

For  ParcL-marking,  Map-Letberincj,  MechanicaL  and  Architectural 
Drauiinqs,  LcbzLs,  Tickets  ,  /ndexinq ,  CataLoqinq ,  Documents  ,  E.tc.,E.tc. 

SIMPLE,    RAPID,    PRACTICAL,    SINGLE-STROKE    LETTERING. 

This  alphabet  in  variously  modified  forms  has  long  since  been  the  favorite  with  architects  and  mechanical 
draftsmen.    It  is  script-like  in  construction,  and  about  as  plain  as  lettering  can  be. 

Use  pencil  head  and  base  lines  for  the  minimum  letters,  and  for  the  capitals,  if  you  need  them.  Use  a  smooth, 
round-pointed  pen,  such  as  the  Zanerian  Medial,  straight  holder,  and  India  ink. 

Aim  to  secure  uniform  slant  and  spacing,  not  by  rule  but  by  the  eye,  and  uniform  width  of  stroke  and  letter. 

Use  a  slow,  deliberate,  sure  motion,  letting  the  hand  rest  on  the  side.  Paper  should  be  held  about  the  same  as  in 
writirg,  but  a  trifle  c'ser  .o  the  eye  and  body. 

Most  of  the  small  letters  may  be  made  without  raising  the  pen,  though  there  are  no  objections  to  raising  it 
after  making  oval  in  a,  or  after  long,  straight  stroke  in  b.    The  oval  of  b  is  made  from  the  top  downward. 

Study  and  analysis  will  aid  you  to  [jerceive  form,  and  practice  and  experiment  will  enable  you  to  produce  form. 


^^X'^WV'^-  Va  2)  iVH  5  5\  Si  9  0  —  >>  >>  >  sS  sS  S  \  \\ 


101 


<=>'^^^^/a>^///^/lerc^/ir^f/0//r///rr/r/yi^//^o^//W/^ 


PRACTICAL   MARKING   ALPHABET. 

This  is  the  old,  ever-new,  valuable,  available  style  of  lettering  that  is  at  once  easy,  artistic,  and  practical.  Perhaps 
no  other  style  of  letter  embodies  in  as  large  a  measure  all  of  these  qualities. 

The  secret  of  its  trinity  of  values  lies  in  the  fact  that  the  strokes  are  similar  in  construction,  uniform  in  slant,  and 
gently  curved  wth  a  swell  shade.  The  compound  curve  or  line  of  beauty  recurring  so  often  adds  to  its  rhythmic, 
graceful,  fine-art  qualities. 

To  make  it,  hold  the  paper  straight  with  the  desk,  let  the  holder  point  toward  the  elbow,  and  use  a  flexible  pen 
such  as  the  Zanerian  Fine  Writer. 

Practice  upon  the  principles  at  the  bottom  of  the  plate,  next  upon  the  small  letters,  then  upon  the  capitals,  and 
last  the  figures,  as  they  are  the  most  difficult. 

Use  a  steady,  sure,  combined  movement,  aiming  to  secure  a  graceful  increasing  and  diminishing  shaie  with  the 
heaviest  part  near  the  center. 

Be  patient,  observant,  critical,  and  persevering,  and  a  successful  style  of  lettering  is  yours.,.     ,       "^ 

-va 

(f (kcKir  fat. 

ab  rD  ef^  hij  lUmnop  qrs^tuo  vpiii  z 

0)3crD(f/(!5HiiJJKiAC(nir(DP(IIR 

eCLECTIC  TEXT 

This  is  a  composite  alphabet,  having  been  made  up  of  the  principles  of  a  number  of  standard  forms.  Study  care- 
fully the  proportion  and  shape  of  letters,  as  well  as  the  spacing  in  and  between  letters. 

Use  a  broad-pointed  pen,  F.  Soennecker  is  best,  and  hold  the  pen  more  nearly  vertical  than  in  writing.  Keep  the 
edge  of  the  point  at  an  angle  of  forty-five  degrees  throughout  the  work. 

Dip  ink  sparingly,  carefully,  and  frequently.  Watch  spacing.  Use  a  pencil  head  and  base  line  for  the  small 
letters,  which  may  be  erased  after  lettering  is  complete.  Make  the  left  side  of  letters  first  and  then  the  right  side. 
Study  carefully  the  turns  at  the  top  and  bottom  of  letters. 

Use  a  slow,  firm,  sure,  combined  movement  in  executing  this  kind  of  letters.  Speed  is  not  so  essential  as  accuracy. 
The  little  finger  and  right  side  of  palm  of  hand  should  rest  firmly  upon  the  paper.  * 

Uniformity  in  height,  width,  spacing,  and  thickness  of  stroke  is  essential. 

Be  patient,  observant,  anc  careful,  and  you  will  win  a  good  hand  at  lettering. 

102 


<:x^  (:9^c/7/??t^/lrve?,u^i/0/lr/A^r/:^//l1y^^  ^^'^^ 


^y/yt^.^,yi^^^^<>^i--T^i^^^<:^'^^ 


^^  ^/^jj/ 


ifZ^ 


c^ 


'2(  T  7'?^ 


^7-Z^   C^^^    ^  ..^^     ^    ^^-^ 


'T^r 


yyLdy 


?/2{.J^ 


FINE   ART    PENMANSHIP   AND    HOW   TO   ACQUIRE    IT. 

The  forms  given  herewith  are  the  same  as  given  in  the  preceding  pages  with  slight  modifications  in  construction 
and  quality  of  line.  The  forms  have  heen  beautified  by  the  addition  of  shade  and  an  occasional  graceful  line.  And 
what  a  big  difference  a  little  shade  properly  made  makes  in  the  general  appearance!  Beauty  rather  than  business 
seems  here  to  be  the  dominant  factor,  hence  the  term  "fine  art."  as  applied. 

To  acquire  and  execute  successfully  this  perfected  and  beautified  hand,  use  Arnold's  Japan  or  diluted  India  Ink, 
fine,  flexible  pens,  good  paper,  and  a  properly  adjusted  oblique  penholder. 

Use  about  the  same  movement  as  heretofore  prescribed,  but  less  speed,  especially  in  the  small  letters.  Raise 
the  pen  oftener,  and  pause  longer  when  it  is  off  the  paper,  than  in  the  business  style.  Retouch  the  t,  d,  and  p,  and 
raise  the  pen  in  B,  M,  N,  P,  R,  and  W,  also  in  joining  to  such  letters  as  a,  c,  and  o.  The  pen  may  also  be  raised  in  L 
and  Z  after  making  the  shade. 

How  graceful,  how  accurate,  and  how  beautiful  should  be  your  aim,  rather  than  how  rapid  and  legible  as  in  the 
business. 

See  how  uniformly  the  capitals  have  been  spaced  in  the  names  and  combinations.  Study  effect  of  light  and 
shade,  aiming  to  have  hair  lines  and  shades  alternate  as  often  as  possible. 

The  shades  on  the  capitals,  indeed  the  letters  themselves,  need  to  be  made  quite  quickly;  snapped  off  as  it  were. 
Dash  and  daintiness  are  two  essentials  In  this  work.    Do  and  dare  and  you  will  win. 

103 


<=x^  cM^^/m/?^i^^m^/^/l^/^^r/Y^^^ 


?j:7?n 


n3vs{p'"-je 


The  chief  change  in 
high-grade 


COMMERCIAL  OR  COPPER-PLATE  SCRIPT. 

This  is  another  modification  of  the  style  of  writing  given  heretofore  in  this  compendium 
this  style  has  been  brought  about  by  heavily  shading  the  down  strokes. 

For  this  kind  of  writing  one  needs  a  fine,  flexible  pen,  an  oblique  holder,  diluted  India  Ink,  and  firm 
paper. 

To  execute  these  strong,  smooth,  long  shades,  one  needs  to  go  much  more  slowly  than  in  the  previous  style,  and 
more  finger  action  is  necessary.  The  little  finger  should  not  slip  for  such  work,  but  should  serve  as  the  center  of 
control.  In  fact,  this  represents  drawing  rather  than  writing,  as  none  of  the  work  is  done  off-hand,  and  the  pen  is 
raised  after  every  shaded  stroke  in  the  small  letters.  Both  sides  of  the  loop  in  I,  etc.  are  made  downward,  ani  the 
up  lines  in  n,  m,  etc.  are  not  as  slanting  as  in  the  ordinary  style. 

Great  care  and  sureness  are  the  forces  which  ploddingly  produce  this  hand.  It  is  used  In  engrossing  resolutions, 
memorials,  family  records,  diplomas,  etc.,  and  is  quite  valuable  and  comparatively  easily  acquired. 

104 


A    PICTORIAL    EPITOMIZED     HISTORY    OF    THE     EVOLU- 
TION   OF    WRITING    FROM    THE     FIFTEENTH 
CENTURY  TO    THE     PRESENT. 

The  invention  of  the  printing  press,  the  spread  of  learning,  and  the  development  of  commerce  all  combined  to 
demand  something  swifter  than  the  Italic  and  other  print-iike  hands  then  in  vogue.  Such  writing  was  "plain  as  print" 
but  slow  and  labored  in  execution. 

Style  ^writing  ijed  about  the  tinie  the  printing prefs  waf invented,  t^JO. 


bout  the  time  Columbus  discovered  America,  the  Scribes  discovered  that  by  connecting  the  letters  as  shown  in 
allowing  round  hand,  speed  could  be  gained  and  eftoit  lessened.  Such  writing  was  easier  in  execution  than  its 
cessor,  and  nearly  as  legible. 


teen  /uindm). 


The  spread  of  knowledge  and  commerce  following  the  discovery  and  colonization  of  America  during  the  eight- 
i  century,  demanded  speedier  writing,  and  the  following  light  line,  connective  hand  sprang  into  existence.  It 
rapid,  but,   when   carelessly   written,   somewhat  illegible. 


€^ 


-a^y/ 


T 


The  New  World  and  the  new  United  States  of  America  began  to  move  more  swiftly  than  any  other,  and,  to  keep 
pace  with  the  events,  the  Angular  hand  responded  to  the  new  demand.  It  proved  too  illegible  if  written  hurriedly  and 
therefore  did  not  come  into  universal  usage. 


^^/l^^^^-c:::^^^'^^''t'C'^2^i^^^ 


c/ 


105 


The  progress  of  events  by  1850  were  pregnant  with  freedom,  not  only  freedom  for  the  black  man,  but  for  the 
white  man's  handwriting,  as  it  was  still  somewhat  labored  and  slow.  The  Semi-angular  or  Spencerian  style  was  created 
to  serve  the  double  standard  of  beauty  and  business,  which  it  unquestionably  did  as  well  as  one  servant  can  serve 
two  masters. 


^.^u-^i^zAy^^dTi^^. 


The  last  decade  of  the  nineteenth  century  saw  the  Spencerian  merge  gradually  into  a  slightly  smaller,  more  slant- 
ing^ and  running,  as  well  as  somewhat  swifter  hand.  Its  long  loops  were  difficult  and  cumbersome  and  its  angular 
turns  somewhat  illegible,  but  it  was  a  step  in  advance  of  Its  predecessors. 


^^:^S^U'6yt^€-^^^7^,^-C^^^^^£'^. 


The  teaching  of  writing  to  children  necessitated  something  simple  and  plain.  The  .vertical  met  that  demand, 
but  tailed  to  satisfy  or  meet  the  demands  of  business.  It  was  suited  to  childhood  rather  than  to  commerce,  and 
thereby  failed  in  general  usage  at  the  hands  of  adults. 

I 

Today  the  world  demands  writing  that  is  plain,  rapid,  and  easy.  It  must  be  easy  to  learn,  easy  to  write,  and 
easy  to  read.  To  be  all  of  these,  it  must  be  simple  and  semi-round  as  well  as  semi-slanting.  It  must  also  be  rapid 
and  capable  of  being  written  with  the  arm  movement  instead  of  the  fingers.     Such  is  the  following: 


As  will  be  seen  by  a  glance  at  the  foregoing  historic  styles,  whenever  the  world  demanded  faster  writing  the 
forms  were  changed  to  admit  of  freedom  and  speed.  They  did  not  add  more  speed  to  the  old  hands,  but  modified 
the  style  so  as  to  allow  speed  to  be  applied  without  destroying  the  form.  Just  as  in  sailing  the  seas.  For  a  while  the 
sails  sufficed,  but  the  time  came  when  more  sails  became  burdensome  and  then  they  were  abandoned  and  a  new  ship 
was  invented.  So  it  was  on  land.  The  stage  coach  and  relay  of  horses  did  for  a  time,  but  eventually  new  coaches 
and  new  forces  replaced  the  old.    It  is  the  old,  old  story  of  "necessity  being  the  mother  of  invention." 

A  glance  at  the  various  styles  and  dates  demonstrates  that  there  has  been  progress  in  the  art  of  writing  more  and 
more  rapidly.  Not  more  plainly  but  more  speedily.  This  progress  will  doubtless  continue.  Change  is  the  law  of 
growth  in  the  w<  rid  of  art,  and  writing  is  no  exception  to  the  rule. 

Today  the  wirld  demands  plain,  rapid  writing.  The  hand  combining  plainness  and  ease  of  execution  in  the 
highest  degree  it  the  one  to  adopt  and  teach.  Such  is  the  last  one  illustrated  as  nearly  as  we  can  now  portray  it, 
and  such  is  the  v.  Drk  in  this  manual. 


106 


THE     PHYSIOLOGY    OF    THE    ARM 

OR    TH  E 

STUDY    OF    THE    MACHINERY    OF    WRITING. 


NOTE. — This  chapter  Is  intended  for  professional  penmen,  and  for  those  wno  wish  to  prepare  as  such.  The  work 
is  technical  and  tedious,  but  imbedded  therein  are  facts  which  teachers  who  aspire  to  or  profess  to  be  professionals 
should  know. 

THE    BONES. 


Composition:     Animal  and  Mineral  matter.   The  former 
predominates  in  youth;  the  latter,  in  old  age. 
Function:     Support  to  the  body  as  a  frame-worl?, 
and  to   serve  as  levers  to  produce  and   increase 
motion. 

THE   SHOULDER. 

Clavicle — collar  bone:  Shape  of  Italic  s,  joins  sternum 
and  acromion  (highest  point)  process  of  the 
scapula. 

Scapula — shoulder   blade:     Flat,    lilve   trowel   or   spade. 
Glenoid  cavity,  socliet  for  humerus,  acromion  and 
coracoid   (crow's  beali)   processes. 
Function:     To  move  shoulder,  and  attach  muscles 
thereto. 

UPPER    ARM. 

Humerus:     Caput  humeri — head.    External  and  internal 
condyle;     Former  joins  with  radius;   latter,  with 
ulna. 
Function:     To  move  arm  in  all  directions. 

FORE-ARM. 

Radius:  Joins  external  condyle — rotates  against  ulna — 
it  pronates  or  turns  palm  down,  and  it  supinates 
or  turns  baclt  of  hand  down.  Articulates  with 
scaphoid  and  semi-lunar  bones  of  the  wrist — back 
of  thumb. 


Ulna:     Joins  internal  condyle — articulates  like  hinge — 
rotates  against  radius  at  wrist. 
Functions:     To   move  elbow   like  hinge;   to  turn 
or  twist:  the  former  to  eat,  the  latter  to  fan. 

THE    HAND. 

Wrist. 

Carpal:     Eight  in  number:   two  rows  of  four  each;  up- 
per, scaphoid,  semi-lunar,  cuneiform,  and  pisiform; 
lower,    trapezium     (major),    trapezium     (minor), 
magnum,  unciform. 
Function;  to  operate  the  wrist  in  all  directions. 

Palm. 

IVIetacarpal:  Five  in  number  (one  thumb,  four  finger). 
Function;  to  move  the  hand — to  partially  close  it, 
and  to  open  it. 

Fingers. 

Phalanges:     Fourteen  in  number. 

1st  phalanges,  five  in  number. 
2nd  phalanges,  five  in  number. 
Last  phalanges,  four  in  number. 
Function;   open  and  close  the  hand. 


1  CLAVlCULA-COLLflR  BONE 

2  SCAPULA -5H0ULDER  BLADE. 

3  ACROMIONCMIiiMEST  POINT)  PROCESS. 

4  CORACOIO  (CROWS  BEAK)  PROCESS 

5  HUMERUS. 

6  OUTER  CONDYLE 

7  INNERCOMOYLE(INNERP01MTOf  ELMWJ. 

8  RADIUS  (joins  OUTER  CONOYIE) 

9  ULNA  (JOINS  INNER  CONDYLE). 
ID  CARPAL  (a  BONES  OF  wrist) 

U  METACARPAL  (5  BONES  Of  HAND). 
U  PHAlAMES(l* BONES  OF  flN^EKS). 


<=x^  (Wu.^rm/?/lere^^un/9^k//^^^^^^^^  ^><=> 


THE   MUSCLES. 


SHOULDER. 


The  muscles  are  first  named.  Their  head  or  origin 
is  then  described,  and  their  outer  extremity,  end,  or 
insertion  is  then  located. 

Pectoralis    major:     Broad,    flat   muscle   situated   imme- 
diately Ijeneath  skin  of  breast. 

Origin;  clavicle,  sternum,  and  ribs. 

Insertion;  anterior  lip  of  the  bicipital  grove  of 
the  humerus,  about  two  inches  below  the  head. 

Function;  draws  arm  forward  across  the  breast, 
and  rotates  it  slightly  inward. 

Latisslmus    dorsi:     Broad,    triangular    muscle    of    the 
back,  covering  lower  part  of  shoulder  blade. 

Origin;   spinous  processes,  lower  ribs,  etc. 

Insertion;  bottom  bicipital  grove  of  humerus, 
about  two  inches  from  head. 

Function;  draws  arm  backward  and  rotates  it 
slightly  inward. 

The  Pectoralis  major  and  Latisslmus  dorsi  are 
the  largest  muscles  used  in  writing.  They  move 
the  fore-arm  in  and  out  the  sleeve  when  the  arm 
rests  at  the  elbow.  They  are  the  seat  of  the  arm 
or  so-called  "muscular"  movement,  as  well  as  of 
the  whole-arm  movement. 

Deltoid:     The  shoulder-cap  muscle. 

Origin;  spinous  process  of  scapula,  acromion,  and 
outer  third  of  clavicle. 

Insertion;  deltoid  impression,  just  above  the  mid- 
dle of  the  outer  shaft  of  humerus. 

Function;  raises  the  arm  from  the  side  to  a  hori- 
zontal position.  This  is  the  seat  of  whole-arm 
movement.  This  muscle  suspends  the  elbow 
while  the  pectoralis  major  and  latissimus  dorsi 
muscles  propel  the  arm  in  writing.  Resting  the 
arm  on  the  table  relaxes  the  deltoid  muscle. 

UPPER   ARM. 

Biceps  brachii:  Two-headed  muscle  in  front  of  humerus. 
Origin;  by  its  inner  or  short  head,  to  the  apex 
of  the  coracoid  process;  by  its  outer  or  longer 
head  to  the  upper  part  of  glenoid  cavity  over 
head  of  humerus,  descending  along  bicipital 
groove.  The  two  unite  and  form  fleshy  part. 
Insertion;  bicipital  tuberosity  of  the  radius;  also 
winds  about  between  ulna  and  radius. 
Function;  flexes  fore-arm  and  turns  or  rolls  it 
outward. 


Triceps  braciiii:  Three-headed  muscle  situated  back 
of  humerus  between  shoulder  and  elbow. 
Origin;  by  its  middle  or  long  head,  below  glenoid 
cavity;  by  its  outer  head  to  the  outer  edge  of 
humerus;  and  by  its  inner  head  to  inner  edge  of 
humerus. 

Insertion;  olecranon  process  of  ulna  at  elbow:  — 
crazy  bone  (stops  extending  fore-arm). 
Function;  extends  fore-arm. 

Braciiialis  anticus:     A  broad,  flat  muscle  beneath  and 
on  either  side  of  biceps  muscle. 
Origin;    lower   half  inner  humerus  and   adjacent 
muscular  tissue. 

Insertion;    coronoid  process  of  ulna  which  stops 
bending  of  fore-arm. 

Function;     flexes    fore-arm     in    connection    with 
biceps. 

Anconeus:     Between  outer  condyle  and  olecranon. 
Origin;  external  condyle  of  humerus. 
Insertion;    outer    side    olecranon    and    triangular 
surface  of  ulna. 


BACK  VIEW  OF  RIGHT  ARM 


A- DWOip,  RAISES  ARn  B-PECTORAUS.  ORAWSARn  FORWARD.  C -UTISVMUSOORSI/ DRAWS  ARn 
WCKWARO.  p- TERES  HAJOR.  R0TATE5  ARn  INWARD  ArjP  DRAWS  ARM  BACKWARD  E-  TERES  MIN' 
OR. ROTATES  ARM  OUTWARD  AND  DRAWS  ARM  BACKWARD-  F-BICEPS.  FLEXES  FORE-ARM  ANOSUP- 
INAItS  SAME.  G-  TRICEPS.  EXTENDS  FOREARM    H-TRICEPS  TENDON.  ;•  BRACHIAUS  ANTICUS,  FLEXES 

K-PRONATOR  TERES, PRO- 
M-EXTENSOR CARPI  RA- 


FORE-ARM.  J-SUPINATOR  LONOUS.  FLEXES  AND  SUPINATE3  FORE-ARM 
-ANCONEUS,  EXTENDS  FORE-ARM 


NATES  AND  FLEXES  FOREARM. 
DIALISLONGUS.  E.1ITENDS  HAND  AND  ADDUCTS  IT  ON  THUMB  SIDE.  N-EXTENSOR  CARPI  RADIAL 
ISBREVIS.  EXTENDS  AND  ADDUCTS  HAND    0- EXTENSOR  CARPI  ULn'aRIS.  EXTENDS  HAND  AND 
AODUCTS  IT  ON  LITTLE  FIN(,ER  SIDE.   P-EXTENSOR  DiqiTORUM  COMMUNIS,  EXTENDS  ALL  THE 
PMALANOESOF  FINGERS.  Q- FLEXOR  CARPI  RADIALIS.  FLEXES  AND  PRONATES  HAND.     R- 
FLEXOR  CARPI  ULNARIS.'FIEXES  WRIST  AND  HAND.  5-FLEXOR  POLLICIS  LONOUS.  FLEXES 
ENTIRE  THUMB     T-  ADDUCTOR  POLLICIS  LONOUS.  DRAWS  THUMB  FROM  FINOER  AND  EXTENDI 
rt.   U-EXTENSOR  POLLICISBREVIS.  EXTENDS  FIRST  PHALANX  THUMB.  V- £XTENSOR_P0LUC|S 
LONOUS,  EXTENDS  END  OF  THUMB.   W- MUSCLES  WHICH  FLEX.  ABDUCT.  AND  ROTATE  THUMB. 
X-INTEROSSEI  DORSALES.  THROW  FINGERS  APART.  T- ADDUCTOR  POLLISIS.  ADDUCTS  THUMB 
Z -ANNULAR  LICAMENT,  HOLDS  DOWN  AND  PROTECTSTENDONS  OF  FORE'ARM  AND  HAND. 


108 


<:x^  C^£.^m/?^l^i'6??un/0/k//i^dY//9^^//y^^^      ^>^ 


Function;  assist  in  extending  fore-arm.  These 
four  muscles  cause  tlie  fore-arm  to  act  lilie  a 
hinge  at  the  elliow — lilve  the  movement  of  a  hinge; 
hence  hinge  or  fore-arm  movement  as  applied  to 
writing.  It  is  used  in  conjunction  with  the  move- 
ment of  the  upper-arm,  and  shoulder  muscles,  as 
well  as  in  conjunction  with  the  finger  movement. 
It  is  the  center  of  action  of  the  whole  arm  from 
fingers  to  and  including  shoulder. 

ELBOW. 

Pronator  teres:     Inner  side  of  elbow. 

Origin;   inner  condyle  of  humerus  and  inner  side 
coronoid  process  of  ulna. 
Insertion;  middle  of  outer  side  of  radius. 
Function;    flexes   fore-arm    by   turning   radius   on 
ulna,  and  assists  in  flexing  elbow. 

Anconeus:     Aforementioned. 

The  pronator  teres  and  biceps  cause  the  fore-arm 
to  roll.  The  former  turns  fore-arm  so  wrist  is 
flat. 

Supinator  longus:     Inner  and  upper  edge  fore-arm  and 
elbow. 

Origin;  external  condyle  and  ligament. 
Insertion;  base  styloid  process  radius  at  wrist. 
Function;    flexes  fore-arm  and  supinator  of  hand 
and  fore-arm. 

FORE-ARM    AND    HAND    FLEXORS. 

Flexor  carpi  radial  is:     Middle  of  inner  side  of  fore-arm. 
Origin;   inner  condyle  of  humerus. 
Insertion;  metacarpal  bone  of  fore-flnger. 
Function;   flexes  hand  in  wrist  and  assists  prona- 
tion of  hand. 

Flexor  carpi  ulnaris:     Under  side  of  fore-arm. 

Origin;   inner  condyle:   inner  side  olecranon:   and 
upper  two  thirds  outer  side  ulna. 
Insertion;   pisiform  bone — base  of  little  flnger. 
Function;  flexes  wrist  and  pulls  hand  inward. 

Palmaris  longus:     Center  wrist  and  fore-arm. 
Origin;    inner  condyle  humerus. 
Insertion;   palmar  facia — middle  of  wrist. 
Function;  flexes  entire  hand  as  a  whole. 


Flexor  pollicis   longus: 
back  of  thumb. 


Upper — inner  side  of  fore-arm. 


109 


Origin;    upper  two-thirds  of  radius  and  adjacent 

ligament. 

Insertion;   base  last  phalanx  of  thumb. 

Function;  flexes  entire  thumb. 

FORE-ARM  AND  HAND  EXTENSORS. 

Extensor  carpi   radialis   longus:     Outer  side  elbow. 
Origin;  outer  condyle,  humerus  and  ligament. 
Insertion;  base  second  metacarpal  bone. 
Function;  extends  hand  and  adducts  it  on  thumb 
side. 

Extensor  carpi  radialis  brevis:     Upper  edge  fore-arm. 
Origin;   outer  condyle  and  fascia  of  elbow. 
Insertion;  base  third  metacarpal  bone. 
Function;  extends  hand. 

Extensor  carpi  ulnaris:     Outer  side  fore-arm. 

Origin;  external  condyle  humerus  and  fascia. 

Insertion;  base  fifth  metacarpal  bone. 

Function;    extends  hand  and  adducts  it  on  little 
flnger  aide. 

Adductor  pollicis  longus:     Draws  thumb  from  finger. 

Extensor  poMicis  brevis:     Extends  first  phalanx. 

Extensor   pollicis   longus:      Extends   last   phalanx. 
Origin;  middle  ulna  and  radius. 
Insertion;    metacarpal,   first  and   last   phalanx  of 
thumb. 

HAND  AND    FINGER    FLEXORS. 

Lumbricales:      Four  muscles  in  palm  of  hand. 

Origin:   radial  side  tendons  of  extensor  digitorum 

communis. 

Insertion;  first  phalanges. 

Function;   flexes  first  phalanges  all  fingers. 

Flexor  pollicis  brevis:     Ball  of  thumb. 

Origin;  trapezium  and  trapezoid  bones,  and  annu- 
lar ligament. 

Insertion;  base  first  phalanx  thumb. 
Function;  flexes  the  thumb. 

EXTENSORS. 

Extensor  digitorum  communis:     Back  of  fore-arm. 

Origin:  external  conilyle  humerus,  etc. 

Insertion:    back   and   base  second   and  third   pha- 
langes of  the  I'our  fiu.gers. 

Function;   extends  all  phalanges  of  fingers. 


APPLIED     PHYSIOLOGY. 


A  Knowledge  of  bones  and  muscles  is  of  value  to  the 
penman  ami  teacher,  inasmuch  as  it  enables  them 
to  weigh,  measure,  and  determine  effort  in  learn- 
ing and  in  doing. 

The  Attachment  of  muscles  to  bones  is  of  such  character 
as  to  multiply  motion  many  times,  thereby  re- 
ducing muscular  activity  to  the  minimum. 

The  principle  of  animal  mechanics  is  thus  disclosed  and 
compared  with  pure  mechanics.  The  lever  seems 
to  be  the  basic  principle  of  this  activity,  and 
comparison  with  its  three  divisions,  the  power, 
the  fulcrum  and  the  weight  seem  appropriate  here. 


hand.  The  longer  the  lever,  the  more  uncontrol- 
able.  and  the  larger  the  muscle,  the  more  unman- 
ageable, as  concerns  the  execution  of  small 
forms. 

Arm  Movement  in  writing  is  therefore  more  difficult  to 
control  than  finger  movement.  becr.--ie  the  levers 
are  longer  and  the  muscles  larger.  Finger  move- 
ment is  more  tiring  than  arm  movement,  because 
the  lever.'i  a    ■•  sh.-rter  and  the  muscles  smaller. 

The  Functions  of  .:he  arm  muscles  and  levers  in  writing 
are  to  create  sufficient  quantity  of  motion  to  make 
it  ^asy  to  propel  the  pen,  and  of  the  hand  and 


A 

c\ 

w 

P                            ^^ 

^--^^'"^^p 

w 

F        , 

y 

p 

Q^ 

=^^'^^ 

.y 

// 

\ 

J?eiiitance 

^ctimti^ 

The  Pow/er  is  represented  by  the  attachment  of  the 
muscle  at  its  head  or  origin  by  means  of  tendons 
to  bones,  ligaments,  or  other  muscles,  and  by  its 
contracting  qualities. 

The  Fulcrum  is  represented  by  the  joints,  because  they 
serve  as  the  center  of  activity.  The  muscle  being 
inserted  into  the  bone  near  the  fulcrum,  as  is 
customary,  the  resultant  motion  produced  at  the 
extremity  of  the  lever  is  much  greater  than  at 
the  fulcrum. 

The  Weight  is  represented  by  the  hand  in  writing  and 
by  the  pen  which  it  holds  and  wields.  The  weight 
in  this  class  of  levers  is  much  lighter  than  the 
power,  but  motion  is  much  greater  in  volume. 

The  Object  in  animal  mechanics  is  similar  to  the  crane 
in  principle  of  leverage  —  to  multiply  motion 
rather  than  to  multiply  power,  as  in  the  common 
lever.  Strength  in  the  form  of  large,  strong 
muscles  is  utilized  to  produce  a  vast  number  of 
small,  rapid  motions. 

Skill  is  the  result  of  this  saving  of  effort  on  the  one 
hand   and   multiplication   of  motion  on  the  other 


fingers  to  secure  quality,  and  control  to  make  it 
""^y  to  manage. 

Motk.i  lu  writing,  and  in  similar  arts,  is  multir-!  "-d 
a  conservative  average  of  about  eig'*^  timt- 
,      is  to  say,  if  the  muscle  producin.s 
moves   one   inch   the   extremity   oi 
member  acted  upon  would  move  eight  inciies.    ur 
to  reverse  the  problem  (for  it  is  a  poor  rule  that 
will  not  work  laoth  ways),  if  a  letter  were  made 
one  inch  high,  the  muscular  contraction  or  expan- 
sion would  be  but  about  one  eighth  as  great. 

The  ratio  between  muscular  contraction  on  the  inside 
and  resulting  outward  motion  varies  with  the 
members  employed  and  art  performed.  Thus  the 
levers  of  the  fingers  being  comparatively  short, 
they  must  act  relatively  more  than  the  levers  of 
the  arm.  As  much  more  as  they  are  shorter.  Or 
to  reverse  the  proposition  again,  the  levers  of  the 
arm  being  longer  than  those  of  the  fingers,  and 
farther  removed  from  the  pen,  will,  in  producing 
a  given  form,  move  or  act  as  much  less  than  the 
fingers  as  they  are  longer. 


1]0 


<=x^  C^A^mi/?/l^i'enun/^/k//f^^M/^^^^^^ 


Nature  thus  economizes  effort  by  using  strength  to  se- 
cure activity.  By  a  comparatively  small  muscular 
contraction  a  large  out'vard  movement  is  pro- 
duced. It  is  thereby  an  exchange  of  strength  for 
volume.  I  presume  that  when  we  actually  travel 
over  eight  miles  of  space  with  our  feet,  we  travel 
but  one  mile  in  muscular  contraction. 

wevei .  is  of  a  two-told  nature — it  is  put  forth 
to  create  motion  and  it  is  put  forth  to  control 
motion.  Some  arts  require  more  effort  to  create 
while  other  arts  require  more  effort  to  control. 
Large  arts,  such  as  walking,  chopping,  sweeping, 
sawing,  pounding,  etc..  require  more  creative  than 
controlling  effort.  This  is  due  to  the  fact  that  much 
strength  as  well  as  much  motion  is  demanded,  both 
of  a  quantitative  character;  the  maximum  of 
strength  and  activity. 

Small  arts,  such  as  writing,  watch-making,  en- 
graving, embroidery,  etc..  require  more  controlling 
than  creat  ng  effort.  This  is  due  to  the  fact  that 
quality  of  motion  Is  demanded  rather  than  quan- 
tity. The  effort  is  expended  in  managing,  in 
limiting,  and  in  reducing  activity. 

The  Art  of  Writing  being  one  of  our  smallest  and  swift- 
est arts,  is  consequently  one  of  the  most  difficult 
to  acquire  and  perform.  To  secure  speed,  the 
arm  rather  than  the  fingers  must  be  employed, 
and  to  secure  legibility,  either  the  fingers  must 
assist,  or  the  muscles  of  the  arm  be  trained  to  act 
minutely  and  orderly  enough  to  produce  good 
writing  as  well  as  rapid  writing. 
The  latter  method,  if  reduced  to  a  working  basis, 
reduces  effort  to  the  minimum.  Few.  however, 
seem  capable  of  thus  writing,  as  the  skill  is  of 
such  a  high  order  because  of  the  long  levers  and 
the  small  forms,  that  the  training  is  too  taxing 
and  extended  to  admit  of  the  necessary  time  and 
energy  on  the  part  of  the  average  citizen  who 
does  not  aspire  to  become  a  professional  penman. 
The  former  method,  the  co-operation  of  the  fingers 
with  the  arm  to  secure  form  seems  the  one  most 
in  accord  with  nature,  and  consequently  the  one 
most  commonly  employed. 

Finger  Movement  is  comparatively  easy  to  acquire  be- 
cause the  levers  are  relatively  short  and  the 
power  close  to  the  weight — the  contraction  near 
the  pen.  This  refers  to  slow  writing  rather  than 
to  rapid  writing,  as  the  latter  is  difficult  to  ac- 
quire, no  matter  whether  the  fingers  or  the  arm 
are  employed.  Finger-movement  writing  may  be 
said  to  be  tiring;  arm-movement  writing,  difficult. 


Arm  Movement  is  relatively  difficult  to  acquire  because 
the  lovers  are  comparatively  long  and  the  power 
far  removed  from  the  weight — the  contraction  of 
muscle  (the  source  of  motion)  somewhat  distant 
from  the  pen.  The  management  of  the  pen  thereby 
becomes  greater  than  the  movement  or  propulsion 
of  the  same.  The  reason  becomes  apparent  when 
you  endeavor  to  write  on  the  blackboard  with  the 
crayon  attached  to  the  end  of  a  yard-stick,  or 
when  you  attempt  to  write  with  pen  or  pencil  by 
holding  It  four  or  five  inches  from  the  point. 

Combined  Movement  or  co-operation  seems  most 
rational,  logical,  and  natural  inasmuch  as  the 
larger  members  may  serve  in  the  larger  forms  and 
the  smaller  members  in  the  smaller  forms.  Then, 
too,  the  fingers  can  assist  the  arm  in  those  forms 
it  fails  to  perform  advantageously,  while  the  arm 
In  return  can  assist  the  fingers  in  those  letters 
they  fail  to  produce  easily  or  quickly  enough. 

The  Fingers  are  so  constructed  as  to  contract  more 
easily  and  powerfully  than  they  extend.  Their 
chief  function  is  to  grip  and  not  to  open  and  close 
— to  hold  the  implement  while  the  arm  performs 
the  labor.  This,  also,  explains  why  finger  move- 
ment is  more  tiring  than  arm  movement. 

The  Elbow  is  the  center  of  activity  for  nearly  all  per- 
formances of  the  hand  and  arm.  It  being  midway 
between  the  i.and  (the  smallest)  and  the  shoulder 
the  largest),  it  is  therefore  a  happy  medium  or 
golden  mean  between  the  two  extremes,  acting, 
as  it  does  at  all  times,  in  conjunction  with  one  or 
the  other,  and  usually  with  both. 
The  fingers  act  forward  and  backward,  outward 
and  inward  on  a  line  with  the  fore-arm.  The 
movement  emanating  from  the  shoulder  acts  in 
the  same  direction  as  the  fingers,  driving  the  fore- 
arm in  and  out  the  sleeve.  The  elbow  acts,  not 
in  the  same  direction,  but  in  opposition  to  the 
two  former.  It  therefore  co-operates  with  both, 
and  without  which  neither  the  fingers  nor  the 
upper  arm  could  write  at  all  freely  or  well.  A 
stiff  elbow  would  be  a  serious  barrier  to  good 
writing. 

The  Logical  Conclusion  is  that  arm  movement  isneces- 
sary  for  rapid  writing,  as  well  as  for  graceful, 
professional  writing.  The  function  of  the  fingers 
is  to  hold  rather  than  to  propel  the  pen — to  assist 
ir  jiinor  details  rather  than  to  create  motion. 


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THIS  BEAUTIFUL  CERTIFICATE, 

Foiir  times  as  laxffe  as  liorc   slicnvn,  is  fjlveu  to  all  who  jnu-chase   this   book   and  wlio  make   sufficient   impr(iv(>meut  r 
their  writing  by  foUowiuK  instructions.     Fiu-ther  iuforumtion  is  given  on  page  8. 

Remember  tliat  tlu'S(!  fertitica.tes  will  mean  something,  as  they  will  not  be  given  indiscriminately  but  only  to 
those  who  earn  them  by  improvement  and  skill.  8uch  a  certificate  "ought  to  be  worth  11,000.00  to  any  young  man  m 
woman,  :is  ;i  hand  writing  is  worth  double  that  amount  if  it  is  worth  a  cent. 

A  charge  of  .^0  cents  is  made  for  engi-ossiug  the  name  thereon,  and  mailing  secun4y  in  a  strong  tube. 

Wliy  not  win  the  two  prizes— a  good  hand  writing  and  this  beautiful  certificate  wliich  was  made  entirely  witli  a 
pen  by  the  author,  Mr.  Zauer. 

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